Lu Xun And The Chinese Film Criticism, A Paradigm Of Dual-track Interpretation

In terms of either social criticism, literary criticism, or "civilization criticism" by Lu Xun, or directly, "criticism" for short, generality is the key for intellectuals. As Edward·Said says in his book " The World the text and the Critic" that "criticism must think of itself as life-enhancing and constitutively opposed to every form of tyranny, domination, and abuse; its social goals are noncoercive knowledge produced in the interest of human freedom".My paper is about the relationship between Lu Xun and film aesthetics, the core of which is Lu Xun's film criticism. In various perspectives, this paper argues that Lu Xun's film criticism concerns two aspects: one is the social reality, on which Lu Xun's film criticism was based, and this aspect is illustrated in perspective of outside-factor, including literary criticism, social practices etc, while, the other is the rhetoric of Lu Xun's film criticism, which is mainly about ontology of film aesthetics. It is an interactive relationship between Lu Xun and film aesthetics: to the latter one, Lu Xun is active, he actively reads and cognizes, which is a kind of "Taking Doctrinism", the favorite notion of Lu Xun. On the other hand, film aesthetics influences Lu Xun potentially. Therefore, in the latter aspect, the study is surely related to the way of life, the consumption trend, the spiritual entertainment etc. In addition, my study in the latter aspect is even carried out in the way of textual-research.In the prologue of this paper, in aesthetics of reception perspective, I emphasize that the follow four parts: Chinese political-cultural context in the first half of the 20th century, Lu Xun, Lu Xun's film criticism, as well as reading of Lu Xun's film criticism and its effect in practice, should be regarded as an active system, and I have made diachronic and synchronic study on these four parts.In literature-film perspective, I stress that, the literary writing of Lu Xun and his film criticism are logically successive, and harmoniously concomitant; then, in perspective of readers' subjective initiatives, namely the so-called "making history" of The Aesthetics of Reception Party, for the long run of China's cultural development, I have studied Lu Xun's works and explained that it is necessary for Lu Xun, the important figure in China, to be connected tightly with film. To connect him to film is...