From 1927 To 1937, The Shanghai Film Culture Ecological Research

The Shanghai film from1927to1937, is a brilliant page in the past history. Itushered in a new stage, known as the "golden ten years". Based on the1927-1937years of Chinese film culture of Shanghai ecological thesis topics, this thesis researchfocuses on environmental elements described, examine and explores various social1927-1937’s Shanghai film cultural survival methods, development methods. It alsoincludes political, economic, culture affects and their relationship. To explore the filmculture with these environmental factors in how to be restricted, be affected, shaped,and rebellion, struggle, adaptation and transformation of the environment in theprocess, with track activity and development strategy of its own system. It presents"Shanghai film cultural ecology" research to make a more comprehensive, in-depth,the true history.The introduction part briefly discusses related concepts, background and researchmethods.The first chapter focuses on the analysis of the Shanghai film society activityspace. In1930’s Shanghai films, the first development in the30’s Shanghai, thisunique material space and social space is materialized. The social space mainlyconsists of three parts, one is to the west of Shanghai as a modern forced open thedoor, it did not become the new political center of China, nor did not become amilitary Western battle between the two sides. The foreign trade activities centerformed the modern open and cosmopolitan city; Second, Shanghai is different fromtraditional Chinese city, Zhejiang and Guangdong people as the main body of themodern immigrant society, formed both Jiangsu and Guangdong characteristics, andthe spirit of immigrants social space. Finally, the coexistence of Western Shanghai asa concession and Chinese subject, limited, and benefit from the western populousregion; it constitutes the exchange between China and Western culture as the mostactive cultural space. These three constitute the basic space of Chinese film cultureecology at the time, and when the Shanghai movie culture influence. The second chapter focuses on the Shanghai movies in the context of politicalculture.30’s Shanghai films, but also restricted the influence in Shanghai, and toparticipate in the various political forces in the Shanghai. Then, it is an important fieldof Chinese main political confrontation, the film must face the political and culturalenvironment. At the time of the Shanghai political power mainly consists of threeparts, one is the power of the national government, a communist activity in Shanghaiand its peripheral tissues, three is active in Shanghai greatly small Gang forces. Thetremendous influence of the three political forces have attached great importance tothe movie and the actual benefit, and directly involved in the generation anddevelopment activities in the Shanghai movie culture. But the three political forces onfilm intervention way each are not identical, and the national government policycontrol, the Communist Party and what its peripheral tissue mainly do is to intervene,but as a special political force exists mainly in the gang from the economy. The threepolitical forces have culture ecological influence.The third chapter discusses the Shanghai film market situation and the Shanghaimovie business strategy.30’s Shanghai films, not only affected by the social activityspace time, but also affected by the different political forces, more affected by themarket, especially Hollywood films. They constitute a huge market pressure onChinese films. However, during this period Chinese films are the most rapid period offilm development, enterprise scale enhancement, film morphology of mature,production quantity increase, whether in politics or art, the subjectivity of Chinesefilm can be established, and the emergence of a large number of outstanding nationalmovie masterpieces. In an unfavorable competition in the market, the Shanghai filmto achieve commercial breakthrough, the survival wisdom Shanghai movie culture.The fourth chapter mainly discusses the movie orientation of Shanghaiconsumers and culture choice of Shanghai movie. The development of Shanghaifilms’ cultural ecology in30’s, has a close relationship with the audience inShanghai. Movie and audience are deeply interdependent, where there is no movie,there is no audience. Without audience, movie will lost its meaning as acommercialized common art. For some point of view, the customers are the most essential element for determining its value, and is the main reason which hasinfluence on movie cultural ecology. Thus, the audiences’ aesthetic orientationbecome more important in movie consuming activities. In fact, during thedevelopment of Shanghai film culture, it is very concern about the audiences’aesthetic orientation, for that only the satisfaction of their basic aesthetic orientationand physiological need can provide extreme consume desire and watching interest.Then the unique film making system and critical pattern of Shanghai movie formedunder this circumstance at that time.The fifth chapter discusses the influence of the Shanghai Film Society ofShanghai cultural ecology.30’s Shanghai film culture is mature, in this time, this city,this society, they are to give, not the ecological environment of this special, but alsowon’t have the Shanghai films rich, diverse cultural ecology. But on the other hand,the Shanghai movie culture diversity, richness, also has had a positive effect onShanghai social and cultural ecology. In particular, the formation of Shanghai people’sself-identity of Shanghai consumer culture is popular, and the citizens of Shanghainationalism consciousness and other aspects, Shanghai movie culture is undeniable.The conclusion part of the film culture of Shanghai ecological significance,experience and lessons are summarized.