Disloyal Image-Demonstrative Exploration Of "Man Ying"

The Northeast People departed from normal daily lives on Sep.18,1931,a day like anunavoidable nightmare,and from then they were ruled by alien nation for 14 years.YetNortheast China had another name enemy-occupied area,and this dishonorable identityhid its past stories from view intentionally or unintentionally.It is a relief to know thatresearchers have recently begun to grope for those memories.Pitifully,some weak voices,like Manchuria Film association ofkabushiki kaisha,("Man Ying") have still been beyond oursights.But it occurred in Chinese Context,it is necessary for us to recollect this"missingpast".Thus,this thesis will verify this dishonorable image,reconsider the film activity underJapanese Colonization and restore"Man Ying",once-called"the biggest Film Studio in theFar East"and later the cradle of China Film.This thesis,in parallel with the word"image"consists of five parts.The introductionentitled Image."The Past"gives an account of cognition and veil of current research on thefilms,"Man Ying"in particular,under Japanese Colonization,as well as its latterdevelopment,hence,describing the significance of the research on"Man Ying"which theauthor refers to"The Past".The first chapter entitled"Politics.Image",demonstrates the establishment history of"Man Ying"and part of its films,and illustrates how the films fell into the tools of theJapanese and Puppet Armies when Northeast was occupied by the Japanese.First of all,thispart draws the outline of films produced by The Manchuria Railway Company,and thenaccounts for the establishment of such"state policy"film organization as"Man Ying";elaborates the establishment and development of"Man Ying"and reconstruct its originalappearance as the organs of Colonial Culture Rule.Then,the author examines the politicalmetaphor of the"enlightening films","state policy films"and entertainment films producedthen in depth analysis.However,the film organization,produced in the"native"context,is to some extentcomplex inside.Therefore,the second chapter excavates the creation group composed of"native"filmmakers,has a case study of their works,like romantic films and Martial Art films,and clarifies the exploration practice of some filmmakers consciously or unconsciously and anindication of native"vagueness."The first two chapters show up the internal multi-facets of"Man Ying",if we say so,thethird chapter portraits the external characters of"Man Ying"as an organ of culture spreadorganization."Man Ying",as the culture organ service for the Japanese and Puppet Armies,attaches much importance to films' disseminative function,and makes full use of film publicity media to build up the momentum.Afterwards,in order to expand its momentum andsupport"continental policy"of the Japanese and Puppet Armies,it began practicingits"continental dream".It played a part in establishing film organizations one after another inNorth China and Shanghai under the Rule of the Japanese and Puppet Regimes and succeededin importing films into the film market of North China and Shanghai.The forth chapter,entitled"Image.The Present",summarizes the disintegration of"Man Ying"which monopolized northeast films for eight years,and the establishment of"Northwest Film Studio"taken over by the China Communist Party.Additionally,considering the rarity and value of historical data and enriching thatmemory,this thesis is fitted with a few pictures in an effort at restoring the historical eventscomprehensively and objectively.