A Study On Spy Detection Films In The First-Seventeen-Year Period Of New China

This paper carries out a systematic and specialized study on Spy Detection Films in the first seventeen- year- period of the new China. Mainly by making a careful analysis of the creation of Spy Detection Films during this period, it sets up a system of Spy Detection Films composed of Detective Spys, Infiltrating Spys and Disguised Spys; it clarifies and corrects the ambiguities and errors in the theoretical statements of thriller films and Spy Detection Films.The Chinese Spy Detection Film is defined in this paper as a story that happens in the background where the revolutionary force occupies the dominant position in the macroscopic view, and that revolves around the life-and-death fight between the detective heroes who safeguard their country's peace and stability at the state security battlefront and the American or Jiang's secret agents who attempt to engage in a conspiracy, with an end that the former finally defeat the latter completely, thus showing the insurmountability of the powerful revolutionary force.Spy Detection Films of the first- seventeen-year period of the new China varied and developed constantly and this article depicts the change of the creation scene, of set rules of genres and of narrative methods. After the primary practice during the period from 1949 to 1954 gave birth to the rudiment of set rules of genres and with the change of the general political climate and the looseness of the cultural environments, Spy Detection Films came to a climax age of its development during the period from 1955 to 1959. During this period, the early dull detective Spy Detection Films, with their own further development, evolved two new subtypes, namely, infiltrating Spy Detection Films and disguised Spy Detection Films. These three subtypes of Spy Detection Films are mainly differentiated and defined in terms of type events. Infiltrating Spy Detection Films unfold the story by taking as the type event the contradictory conflict in which the single and brave hero tries to win the enemy's trust and the enemy suspects and tries him constantly; Disguised Spy Detection Films, the contradictory conflict in which the detective hero tries to find out the truth out of the enemy's secret activities and the enemy tries hard to cover it; detective Spy Detection Films, the contradictory conflict in which the detector detects the spy agency and the spy agent attempts to engage in a conspiracy. By the comparative analysis of the set rules and narrative methods of thriller films and Spy Detection Films, the article makes it clear that, actually, among the Spy Detection Films of the first-seventeen-year period in the new China, only Infiltrating Spy Detection Films can fall into the thriller category; it also points out the theoretical mistake, which exists in the present studies, of classifying generally Spy Detection Films of the Seventeen Year Period into the thriller category.By comparing Chinese Spy Detection Films with the Hollywood"007"series movies, the paper explores the potential of Chinese Spy Detection Films of the first-seventeen-year period in terms of genre model, and the gap between them and the deficiency of the former in terms of model deduction and narrative methods.This paper discusses the cultural function of Chinese Spy Detection Films. Based on the presupposed common understanding which views the cinema of the new China of the first seventeen-year period as the"ideological state apparatuses", the article points out the purpose of the ideology's carrying out"addressing inquiries"through films and analyzes in detail the means of its realization. The Spy Detection Films taken as one of the extensively popular film genres of cinema of the new China during the this period, the paper also analyzes from the cultural psychological point of view its recreational function and its realization.