A Study On Cultural Fit Of The Former Soviet Union Songs And Chinese Film And TV Works

Film and TV music plays an indispensable part in the creation of film and TVworks, form the earliest silent films which play music during screening to the colorsound films with mature techniques nowadays. The creation of film and TV works inChina developed later than that in Europe, and was mainly influenced by foreign filmand TV creation theories, so film and TV music is essential. Film and TV music isused in the film and TV works we see nowadays, and there’s also an Academy Awardfor Best Original Score. Music has its unique expressive function, and when thisfunction is well combined with the content of the film and TV works, the effect isbrought out. The employment of the Former Soviet Union songs in Chinese film andTV works is not a mainstream phenomenon, but it is not uncommon. As two culturalphenomena, there must be a certain reason for their combination. The Former SovietUnion songs represent a culture as well as a history. Chinese film and TV works alsorepresent a unique culture, and the audiences of the mainstream works are Chineseaudience. Yet, the effect of the combination of theses two cultural phenomena hasbeen accepted by the audience. Lots of audience will trace out the Former SovietUnion songs when watching these film and TV works, and sometimes the FormerSoviet Union songs used in the film and TV works will set off a burst of music trends.Chinese people are very familiar with songs like Night in the Suburb of Moscow,Kachusa,Holy war,Light,On the road,Hawthorn Fruit, maybe lots of them can notsing these songs, but they have heard the names of these songs. The Former SovietUnion songs are heard in films such as The Seal of Love,The Piano in a Factory,TianAn Men,Red Cherry,A Tale of Two Donkeys,Under the Hawthorn Tree,HSUE SHENTSIEN, and TV series such as Pure red heart,My Natasha,cover,the ever-changingworld,show sword,Mao Anying,fly low,plot in secret,passionate years,The rde plumblossoming,A zori zdes tikhiye, and some other TV programs. The songs mentionedabove are those with which the audience is very familiar. Despite the fact that theFormer Soviet Union songs do not play an important role in every film and TV worksand that the Soviet Union has become a historical term, these songs are associatedwith the memory of the Chinese people. This memory is rooted in the culture of the Chinese people and even become a part of the Chinese culture.This thesis concerns about the cultural fit of the Former Soviet Union songs andChinese film and TV works. It investigates how this fit is achieved mainly form theperspective of culture. On the one hand, it is better to start from this point in that“culture” has a wide range of meaning which involves politics and art. On the otherhand, it is difficult to start from this point for the fact that “culture” is hard to defineand that as a culture phenomenon, the connotation of the Former Soviet Union songsis complicated. In this regard, the study is conducted mainly from the background andthe fit point of these two.The thesis consists of four chapters. Chapter One is about the literature reviewand the definition and the scope of related concepts. Chapter Two describes thebackground of the fit i.e. the reason of the fit. Chapter Three seeks the fit point fromdifferent perspectives, and shows how they fit. Chapter Four briefly analyzes thedifference between the music of the Former Soviet Union and that of other countries.The question why other folk music with unique features does not have such aninfluence on Chinese film and TV works is also answered in this chapter.