The Consideration Of The Judgment About The Relationship Between Main Rear Area And Shanghai And Hong Kong In《between Shanghai And Hong Kongthe Politics Of Chinese Cinema》

1937-1945is the mutation period of development of Chinese film:Japanese imperialism brazenly waged a full war of aggression against China; the national consciousness of the Chinese community increased rapidly; times also gave the film a new social responsibility. Because of the war, the Chinese film in this period changed a lot. The first, the original pattern of the Chinese film with Shanghai as the center was broken, replaced by the coexistence patterns of regional film phenomenon which were the "Rear Area Films"、"Films in Isolated Island"、"Films in Hong Kong"、"Films in Base"、"pseudo-Manchukuo movie" and "Wang Jingwei puppet film". The second, the national film industry development path driven by commercial interests and market regulation was changed. And instead the Chinese film was charged with the mission of the state and society. The third, filmmakers, distribution, and projection system of the Chinese film which was established after early and development stage had been damaged. And the Chinese film was forced to form a variety of film business model.The Chinese film historians always agree that "Rear Area Films" occupy the mainstream and leading position in the intricacies of wartime movie picture. But the relationship between the "Rear Area Films" and the other regional film phenomenon is still obscure. Chinese American scholar Poshek Fu, the author of the《Between Shanghai and Hong Kong——The Politics of Chinese Cinema》, have made a judgment about the relationship between Rear Area Films and Films in Isolated Island and Films in Hong Kong. However, Poshek Fu is a overseas Chinese academia who living in the U.S.. Because of the multiplicity of identity, his judgment is ambiguity and simplistic. This article is based on the《Between Shanghai and Hong Kong——The Politics of Chinese Cinema》, and the judgment about the relationship between the Rear Area Films and Films in Isolated Island and Films in Hong Kong. Meanwhile, this article will through the method of historical research and cultural studies, and guided by the scientific realism, and learn from the ideas and achievements of film history give the true face of the relationship between the Rear Area Films and the Twin Cities Films.In the history of wartime Chinese film, the culture of the resistance is the mainstream and leading under the case of national crisis and social crisis in China. And it is also the historical choice made by the progress of the film makers. The complexity of wartime film-making and ideological is also presented in this social and historical context and the mainstream of film-making. So, we can not give up the mainstream of the ideological expression in film-making in order to reflect the complexity and diversity of the wartime film-making.Pattern of the wartime Chinese film is consist of the "Rear Area Films"、"Films in Isolated Island"、"Films in Hong Kong"、"Films in Base"、"pseudo-Manchukuo movie" and "Wang Jingwei puppet film ".They are in the state of Synchronization-Dislocation-Coexistence. The structure of this state exist difference between "heavy and light","mainstream"、"dominant and tributaries". Whether start from the history of movie itself or reflect from the national politic, the Rear Area Films is the mainstream and dominant of the wartime movie. It represents not only the process of the evolution of the Image Legendary Narrative which is the Chinese film concept, but also the image of national political interests. Meanwhile,"Films in Isolated Island"、"Films in Hong Kong"、"Films in Base"、"pseudo-Manchukuo movie" and so on also show their qualities which combined with their regional culture.