"Mirror" And "Mirror" Of The Mandarin Duck And Butterfly School

The literati of the Yuanyang Hudie School were once buried in the dust of history and their film creation encountered negative evaluation.Until the 1980 s,scholars represented by Fan Boqun rediscovered and positioned the literary works of the Yuanyang Hudie School.By the 1990 s,the scholars and the film creation of Yuanyang Hudie School gradually received attention.Scholars tried to explore the filmmakers and movie creation of the Yuanyang Hudie School from different angles.For a long time,people have a certain prejudice against the film creation of Yuanyang Hudie School and Yuanyang Hudie School.They think that the literary and film works of the Wenren of Yuanyang Hudie School are in pursuit of commercial interests while ignoring artistry.They are full of boring commercial gimmicks and do not deserve attention.Due to the fact that there are few historical materials about the creation of the Yuanyang and Hudie School's films,many copies of the films at that time are now hard to find.Therefore,it is difficult for people to objectively evaluate the creation of the Yuanyang and Hudie School's films.Therefore,we should re-evaluate the creation value and historical contribution of the Yuanyang and Hudie School's films today.The paper mainly adopts the method of combining historical data textual research and comparative research.The textual research of historical data is the basis of this paper and the textual research of historical data is also the demand of empirical research.This paper will use empirical method to sum up and analyze the formation of Yuanyang Hudie School and early Chinese movies.On the basis of sorting out the historical facts of the films of the school of Yuanyang Hudie,this paper uses speculative methods to analyze the different types of films of the school of Yuanyang Hudie.At the same time,the paper will also use historical research methods and comparative analysis methods to analyze the problems and conduct in-depth research on the existing data.At the same time,the paper also refers to the research method of professor Qin Xiqing's paper which refers to the research method of Japanese scholar Yamamoto.Japanese scholar Yoshio Yamamoto pointed out: "The so-called influence is to talk about the relationship between two different things,but it is made up of similarity and difference.Similarities represent the positive tendency of assimilation which holds the dual functions of " Jian " and " Jing " here.The difference represents the positive tendency of the individual.It holds the uniqueness of culture and personality here.The uniqueness of the film works as manifestations suggests such a dual function." Yamamoto Hideki distinguishes the concepts of " Jian " and " Jing ".The former takes the meaning of learning and imitation while the latter plays the role of reflecting his own culture.In the initial stage of Chinese movies,the Yuanyang Hudie school movies used Yuanyang Hudie school novels as a "Jing" and copied the culture spread from ancient times carried by Yuanyang Hudie school novels into their own "Jing".Not only are the novels of the school of Yuanyang Hudie,but also the films of the school of Yuanyang Hudie are influenced by western literature and western films,which serve as their "Jian" and "Jing".So,how did the Yuanyang Hudie movies "Jian" and "Jing" ? The author will give an answer below.The thesis is divided into four chapters.The first chapter expounds the "cultural journey from novels to movies".It is divided into three sections.The first section examines the cultural circle of scholars and filmmakers of the Yuanyang Hudie School.The second section discusses the practical road from Yuanyang Hudie school novels to movies.The third section discusses the cultural journey from novels to movies.The second chapter expounds "Jian" and "Jing" : selection and choice ".It is divided into two sections.The first section discusses the social ethics discourse constructed by Yuanyang Hudie School.The second section discusses the film of mourning and world feeling: the choice and integration of western and traditional.The third chapter expounds " Jian " and " Jing ": knowledge,meaning and emotion ".It is divided into two sections.The first section discusses detective films and monster films.The second section discusses martial arts female stars and Huangjiang Female chivalrous.The epilogue is "to enjoy the crowd's resentment" : the cultural remedy of Yuanyang Hudie School scholars and filmmakers."The fourth chapter elaborates " the cross-cultural modern construction in the case from the novel " Red Reef Painting and Paddle Record " to the movie " Rainy Night ".It is divided into four sections: In the first section,the author compares the original English version of "Red Reef Painted Paddle Record" with the translated version of Lin.In the second section,the author discusses the modern refraction of "errors" in "Red Reef Painting and Paddle Record" and "Rainy Night".The new play "Red Reef Painted Paddle Record" is verified,and the novel "Red Reef Painted Paddle Record" and the movie "Rainy Night" are also discussed.In the third section,the author discusses the modern examination of "faith" in "Red Reef Painting and Paddle Record" and "Rainy Night".In the fourth section,the author discusses the modern spirit of "transformation" in "Red Reef Painting and Paddle Record" and "Rainy Night".In the 1920 s and 1930 s,the films of the Yuanyang and Hudie School drew the essence from the literary works of the Yuanyang and Hudie School and enriched the artistic forms.In the initial development stage of the films,the involvement of the literary works of the Yuanyang and Hudie School and the artistic concepts of the literati of the Yuanyang and Hudie School promoted the overall development and progress of the films in the 1920 s and 1930 s,at the same time,developed the films of the Yuanyang and Hudie School with unique flavor of the Yuanyang and Hudie School.