Interpretation: Connecting The History Of Film And Fine Arts

This article focuses on the group of film artists in Shanghai during the Republic of China as the main object of discussion.Two primary methods used to analyze the group include association and group studies.By collecting and choosing from a vast array of literature—with the analysis of some specific cases—this article's purpose is to explore the positive contributions made by these Fine arts talents in the field of set art,photography,performances,directing,cartoons,and more.The author does not intend to rewrite the film history of the Republic of China,but rather offer a special point of view in order to investigate the connection between film and art during that period in hopes to practically promote the subject research of film and art.In addition to the introduction and conclusion,the paper consists of six parts:Chapter 1: ‘The phenomenon that an increasing number of artists turn to the film industry'.This chapter recounts film as having quickly advanced to the eighth kind of art since its inception;furthermore,the art of film and television strongly impacted conventional forms of art,such as painting and drawing.This phenomenon led to an influx of nascent artists entering into the film industry worldwide.Under such circumstances,Shanghai,a modern cosmopolitan hub in the southeast of China,promoted film culture and became the “Hollywood” of China.Film and fine arts intertwined and became the leading fashion trend of Shanghai.Thus,these professionals emerged in forming a combination of film art.They not only exuded positivity in the field of film and art,but also greatly expanded the application of art concepts into films.On this basis,the paper made preliminary research on the career progress which artists made in connection with films and on the general situation of the artists.Chapter 2: ‘To create real and beautiful scenery'.This chapter describes film scenes which began at rudimentary levels.Scenery talent sprung up,either from the participation of well-known artists or due to a demand in quality development of the Chinese film industry.Therefore,the status of art was placed much higher than that of the scenery.Since then,set designers emerged in an endless stream.After experiencing aestheticism,stunt wonders,symbolism and other pursuits,domestic films approached the Chinese characteristics and realism,and expanded their artistic approach to outdoor photography.All represented the general trend.Chapter 3:‘Image and art pursuit of photographers'.This chapter,by tracing back to the difficulties of early Chinese film photographers,highlights their art skills and photographic talent.Throughout the Republic period,the aesthetics of film photography presented the staggering development of documentary and performance images.Stunt photography was the most efficient way of reflecting the creative characteristics of camera photography.Moreover,the Republic of China photography theory drew lessons from the Fine arts.Film aesthetics,photographic composition,and other aspects all left traces of art.Chapter 4: ‘Performance became mastered because of art'.This chapter systematically reviews the artistic accomplishments of the actors.In addition to professional art graduates' approach to the performances,other movie stars' fine arts hobbies can also be revealed.Furthermore,these directors who were daft in painting could also be placed on the horizon because of their essential role in play instruction and direction.The artists on the silver screen do not always star someone who can draw.However,changeable art forms were still to the advantage of artists for their film-making aims.Art creation before a camera lens offered artists a better opportunity to show their talent as well.It is essential for a performance to offer an analogy and esoteric meaning.This article focuses on areas such as the cross-boundary development of artists under the idea of great art,the artistic source of performances,and the causal relationship between painting theory and performance theory.Chapter 5:‘Film director's beauty and art'.This chapter concentrates on film artists who became directors while exploring their unique and creative thinking of the film industry and the positive role that artistic talent plays in the process of directing.Additionally,this chapter analyzes the representative directors of aestheticism,Romanticism,realism,and horror and commercial films to show the unique film aesthetics directed by these artists.Finally,we can look back to the outpouring natural painters' consciousness while artists participated in the production of painting film,and then pay attention to the Republic's film <Spring Scenery Can't Be Shut Up> worked on by a group of artists.Chapter 6:‘A new world of domestic animation'.This chapter mainly discusses the formation of Chinese cartoon talents with a story of the Wan brothers.Demonstrating the combination of painting and film culture as well paves the road of talent for Chinese cartoons.By restoring the production process of the first feature-length cartoon <Iron Fan Princess >,this chapter highlights the importance of painting in the cartoon industry.Furthermore,Qian Jiajun,a subsequent emerging cartoon talent,pushed for the use of the word ‘animation' instead of cartoon.This concept is supposed to be engrained in the conscious minds of China's cartoon talents.In fact,this is also a sign that film artists have realized their awareness of art.