On Filmic Documents In "Sino-Soviet Culture"

"Sino-Soviet Culture" is an official magazine of the Sino-Soviet Cultural Society. From its foundation in May 1936 to May 1949, it is worthy of commendation to be successively produced during that thirteen years, which is a war-ridden period. As a major publication in the category of Main Rear Area Culture, this magazine reappeared in our view. With the tide of film nationalization at that time, Soviet films and theoretical system were pushed to a significant status in the Main Rear Area. There are concentrative reflections on such aspects in the magazine of "Sino-Soviet Culture"; however, present researches only make brief accounts of this Society and magazine, laying the center of gravity of Soviet studies during the period of War of Resistance Against Japan on literary translations and introductions, while lacking in-depth understanding of documents on films. This thesis makes a study of the documents on films published in this magazine, and verifies them through an analysis towards the Soviet films projected in China, allowing us to touch and approach the historical truth through the intricate surface of history in the 21st century, and exploring deeper footprint of history development through digging historical materials, and thus making judgment towards the present historical standpoints.Chapter One of the thesis mainly introduces the magazine of "Sino-Soviet Culture" and the reasons for choosing the film documents in it as the research subject, and it also includes a brief account of the previous research achievements, an exposition of the significance of this thesis and the main research methods. Chapter Two is the focus of this paper, that is, researches on film documents. Through classification of the documents and making statistics, different types and orientations are summed up. Some key documents are picked out to be explained in detail, in the aim of drawing out the great influence of Soviet film theories. Chapter Three and Chapter Two are supplementary with each other. For the special situation that dramas and films in the Main Rear Area are deeply interrelated with each other, it is necessary to make an analysis towards the drama documents and the ideas in the magazine of "Sino-Soviet culture". In Chapter Four, there is a brief introduction on the acceptance of the Soviet Montage School in China. Through statistics from the key newspapers in the Main Rear Area of the market share of rear-area film, we can see by the actual data the historical circumstance of Soviet films in China. Together with the analyses in Chapter Two and Chapter Three, this chapter answers such questions as whether the Soviet films produced impact on Chinese films and to what extent the impact appeared to be. It needs a massive and careful data collection in the earlier period of writing such a thesis. The magazine of "Sino-Soviet Culture" is preserved relatively intact, and the documents, statistics, and pictures concerned in this thesis are all first-hand materials.