The Divisions, Splits And New Developments Of Shanghai Cinema Traditions (1945-1965)

Since the 1980s, the cooperation of capital, personnel and production in cinema has become more and more frequent among the Mainland China, Hong Kong and Taiwan. On a mutually beneficial basis, years of political division and separation was finally broken and has now been replaced by the above-mentioned cooperation in every aspect—fund, personnel, and production. The thirty years gradually saw the blend and trend of regional integration. Film makers and scholars among the film circle has also reached the common understanding that "Chinese film" is a community by the joint efforts of the Mainland China, Hong Kong and Taiwan. And accordingly, the "Chinese film" is now named as, for political divergence, the "Chinese language film".At present, the integration of politics, economy and culture among the three regions become more and more stable, and the tripartite cooperation and production practice have become well blended as milk and water—in complete harmony. As the film scholars' greeting, they eventually form their research focus on "Chinese language film", "Rewriting the film history" and "Culture study". Compared with "Chinese film", the so-called "Chinese language film" seems expanded in connotation; as a basic research category," Rewriting the film history" is, effectively the logic starting point and the important final settling place, of the study and research of the discipline development;" Culture study" is a new worldwide cross-principal, cross-cultural approach and paradigm. If the three aspects are integrated, a more grand project is to be obtained: the researchers are to achieve the general narration of the Chinese cinema history through adopting the of the culture study and rewrite the Chinese language film history.Titled as "The Divisions, Splits and New Developments of Shanghai Cinema Traditions (1945-1965)",the present paper is actually about the affiliation and tendencies of Shanghai, Hong Kong and Taiwan's cinema in the perspectives of institution, personnel and culture,It is also actually a sub-topic for the study and discussion of the "Chinese cinema history". The present paper aims to study and interpret a detailed question and a specific duration of the general history, which is like to build a genuine and sturdy brick in the Great Wall, to provide the future researchers and readers with the necessary proof and clue. Moreover, the paper also aims to explore the spiritual source of the gradual converge of the three regions and the history and cultural reasons for the focus value of Shanghai cinema tradition in the study of the Chinese cinema history. This dissertation can be divided into six parts. The Introduction part expounds reasons,value,and makes clear the writer's position on this study and the main approaches adopted; Chapter One," The connotation and distinguishing features of Shanghai cinema tradition", analyzes the background and context which formed the tradition in three aspects—institution, personnel and culture. The present paper points out that Shanghai cinema, which characterizes as a private industry, with a personnel tradition of free employments, tends to form a dialectical polyphony of cultural conventions; Chapter Two,"Shanghai cinema tradition and new Shanghai's cinema", studies the changes Shanghai cinema has made since 1949 through three factors—institution transformation, personnel adjustment, and thoughts rectification; Chapter Three centers on the who traveled southward, explores the inheritance of Shanghai tradition by the Hong Kong film in every aspect(institution, personnel and culture) according to time, and makes a deep comparison and analysis on "realism" which presented in both Hong Kong and Shanghai film; Chapter Four expounds the inheritance of the institution and culture of the Shanghai tradition and new changes made through the migrations from Shanghai to Taiwan, or from Shanghai to Taiwan via Hong Kong, with a list of examples—Propaganda film, Healthy Realistic film, the Hui(Huangmei) film, and Qiongyao film; the writer achieves the conclusion in the last part of this paper: Shanghai cinema tradition has every reason to become the central value standard of the (re) writing of the Chinese Cinema History, which characterizes as metal-cultural tradition; the common structural relations between the changes of the Shanghai cinema tradition and the several important turning of the development history of the Chinese cinema, may be an important reference to the periodization of the Chinese cinema history.The eventual aim and value of this dissertation is the very first step of the exploration of the (re) writing of the Chinese Cinema History. But, as the research in a strict sense is still in its babyhood, the present conclusion could hardly be called an early conclusion.