Postwar Film Protests And The Construction Of Film Industry

After the Second World War, along with the growing prosperity and influence, film industry got more and more social and official attention. Involvement of Multi-party political forces and a wide range of interest groups made the situation of postwar film industry abnormally mottled and disordered, and it also reflected the diversity of power systems and the internal competition in Postwar China. In the latter half of1950s, due to the restructuring of political interests, tremendous changes had taken place in the interests of the film industry. The conflict between various political high-pressure control and expanding commercial interests had become a vital contradiction need to be constantly coordinated in the development process of film industry. Various protests in film industry reflected the changes of power relations in the postwar public entertainment. The occurrence of various protests was closely related with the post-war political and social environments. In the second half of1947, an important film dispute happened in major cities of China. The dispute was around a film named Fake Phoenix which was made by Wenhua Film Company.Based on various historical data such as archives, mainstream newspaper, local tabloids, movie magazines and so on, the article tries to reproduce the interaction during all kinds of interest groups around the event and observe the intricate interest contradictions, and thus analyze the underlying causes behind and historical infect. Postwar political interests structure restructured and great changes had taken place in movie interest plate. The contradiction between various political pressure regulation and the growing commercial interests became an important part need to be coordinated constantly for the development of film. Based on the case study, this paper attempts to answer the following questions:How did the postwar films developed? What’s the relationship between continuous movies protests and the reconstruction of film territory? What kind of forces involved in the postwar film industry with great interest? How did different kinds of power manipulate movie resource? Among all kinds of complicated contradictions and conflicts, how did they work? How did the various forces plan? What kind of relationship did the multiple forces, including the government, social organizations, audiences and movie theaters, film companies, build mutually?...