The Chinese Early Film Criticism Between The Traditional Context And The New Trend Of Thought(1897-1932)

This paper mainly discusses the emergence of China's modernization process in the early film criticism trend,and focus on the film reviews between 1897-1932,exploring the entanglements,dialogues and interactions between Chinese traditional culture and imported Western culture,especially the modernization.With the visual threshold involving cultural integration,national consciousness,authoritative politics,and social utilitarian penetration and shocks between multiple perspectives.When the film came to China,it coincided with China's “huge changes that never met in thousands of years”.During the late Qing Dynasty and the May Fourth New Culture Movement,a variety of Western thoughts came to the fore.The process of the various trends of thought in the old China is almost inextricably intertwined with the arrogance of the Western powers,the ruthlessness of the ship and the ruthlessness of the Chinese government,and the humiliation and humiliation of the country.It makes the rescue of the country the most important social issue at this time.Comparing with the West,China's modern enlightenment has two differences.First,"salvation overwhelming enlightenment" makes the ideological community pay too much attention to material pursuit and power domination,showing a strong social utilitarian color;second,"enlightenment becomes the only choice." The salvation of the people made the Chinese people agree with the cultural logic of imperialism such as the "civilization hierarchy theory" in the subconscious,simply attaching the east-west culture to the old and new culture,and thus contributing to the extreme "westernization" tendency.This has given the spirit of the early Chinese film criticism trend.At the same time,the nationalist sentiments that are constantly emerging based on the survival of the Savior,as well as the unconscious adherence to the traditional contexts such as “Writing the Words”,are also involved in the evolution of the above-mentioned trends of thought.Based on this,the paper is divided into the following sections.Introduction-systematically expounds the significance of this topic,the results of previous research,and the basic characteristics of Chinese film criticism during 1897-1932.The first chapter-the traditional repercussions in early film criticism.On the basis of combing the ideological and historical context of early film criticism,it focuses on the inheritance and variation of traditional literary concepts in early film criticism,focusing on the traditional poetry of the early criticism texts such as "movie words".And the criticism of "text is to carry moral" after the shock of modernity.The second chapter-the "mirror viewing" of early film criticism on Western culture.Mainly concerned with the "Western Learning Source" consciousness of the soil in the early film criticism,the "Chinese-Western" consciousness of the movie,and the "New Heroism" drama concept advocated by Lu Mengshu's "Silver Star" magazine.For the reference and transformation of Western humanism.The third chapter-the national consciousness in early film criticism.Focusing on combing the "national renaissance" movement,the "nationalist film" movement,the insults of the film protests,the infiltration of Europeanism,the criticism of nationality,and the process of taking nation as a "community of imagination" to achieve national identity through the mass media.The fourth chapter-the social utilitarian thinking in early film criticism.Focusing on the confrontation between the entertainment attributes and the educational attributes of the film in the early film reviews,involving commercial entertainment films,educational film movements,and the establishment of the movie checking system.Making a clear clarification on the trend of thought of the film reviews on the above topics,for type narratives,film missions,and Kuomintang's literature and art policies.Conclusion-summarize the full text.Pointing out that this article always observes the infiltration and shock between cultural integration,national consciousness,authoritative politics and social utilitarianism.It makes the discourse orientation of various criticism modes such as filmer criticism,scholar criticism,reporter criticism and public criticism.In summary,the different expressions of business discourse,political discourse,elite discourse and citizen discourse on different issues are divided in order to outline the true face of a historical trend of thought.In the discussion of the above-mentioned sections,relying on the extensive establishment of the current electronic database of a large number of Republic of China journals,this paper re-examines the concept of “the land of the film-playing source” and the film “The Eighth Art Theory” with the help of faster and relatively complete historical data collection.The translation process,the theoretical origin of the "New Heroism" film concept in "Silver Star" magazine,the external political environment of "Nationalism Film Movement" in "Movie Monthly",and the causes of Tsinghua's "Shang Society enent".At the same time,this paper examines the inheritance of the traditional "poetry" thinking from the perspective of the history of thoughts,and the "national renaissance movement" continuation of the concept of "saving the country by industry" in the late Qing Dynasty,and the literary concept of enlightenment development and variation in the film education movement.Furthermore,this article reflects the innovative consciousness with the excavation of new historical materials and the selection of new perspectives,and hopes to make a useful attempt to study the early Chinese film criticism trend by clarifying the above problems.