Study Of Chinese Left-Wing Films In Chinese

Left-wing films, initiated and led by Chinese Communist Party in order to meet the needs of domestic national struggle and class conflicts at that time, were a series of anti-imperialist, anti-feudal, and anti-KMT autocracy films as a result of the film movement in Shanghai. They made their billiant debut in 1932 and quitted the stage of history in 1937 with the overall outbreak of the anti-Japanese war. Left-wing films were the result of the coaction of such historical composition of forces as politics and culture and had formed, in the process of their historical development, their specific connotations, patterns as well as the distinctive aesthetic features. This dissertation, centering around left-wing films'nascence, development, types of features, core values, character imaages, artistic language and the relationship between left-wing films and other films forces, explores how Chinese Communists built a new film aesthetic paradigm and eventually achieved political and cultural leadership or rights of ideological discourse.Except for"Introduction"and"Conclusion", there are six chapters in this dissertation. The introduction part determines the object of study, research profile, research perspectives, research method and research value. The first chapter discusses the rise and its causes of left-wing films, their development and the main features of left-wing films as a new road to films. The second chapter elaborates on the different types of left-wing films in the dispute of politics and art and analyzes their aesthetic features in the context of comparing concrete films. Chapter three explores the historical role and historical limitations of left-wing films with the consciousness of class conflict, violent revolution mentality and national consciousness as their core values. Chapter four, with the state machinery ideology of Althusser theory as a weapon, analyzes three main characters in left-wing films, i.e., workers and peasants, intellectuals and women. Due to their low social status, these three characters were living at the foot of the social ladder. The hardships of life and national crisis impelled them to respond positively to the call of left-wing ideology and, influenced by such ideology, they transformed their status awareness and devoted themselves to the revolutionary process of class and national liberation. Chapter five holds that in creating stories and characters, left-wing films expressed their sympathy towards the general public who were at the bottom of society, demonstrated their political passion of desiring to change the living situation, and at the same time formed a set of film language which agreed with the story and its characters and which was mainly reflected in montage thinking and sound modeling of left-wing films, especially in the skillful conception film music and stereo sound. Chapter six analyzes the relationship between left-wing films and other film culture forces, which is mainly about the cultural conflicts with Hollywood movies, Soviet films and soft films. In the conflicts with these film cultural forces, left-wing films further constructed their aesthetics and expanded their influence in the audience, thus winning their cultural leadership. The conclusion is about the aesthetic construction and reflection of left-wing films. The purpose of rethinking and interpreting left-wing film aesthetics in today's political and cultural context is not only to reevaluate the relationship between film and politics with the aim to inject new historical experiences into film ideology, a core proposition of film theories, but also to release the the possible implications of left-wing theories on contemporary social reality, while aiming at constructing a more positive national aesthetic taste and aesthetic values.