| As the pioneer of China’s early films industry, Shi Dongshan always narrated by contradiction and complex image in the history of Chinese filmdom. On the one hand he such as a landmark building witnessed the war and trauma of the country, witnessed the ignorance and enlightenment of the nation and witnessed destruction and salvation of humanity. Its worth the whole people to make a painstaking investigation on the details and analyze the fracture and fusion between movies and history in the middle of the20s to50s in last centry. On the other hand, his image "flat" rather than "full" made him unknown to the public during the divided era around. He stated at the concept of aesthetic tendency films, after that his style transited to the changing after the national defense films, and then to the macro pictures of extravaganza suffering epics. Finally, he praised to the aesthetic revolution of people’s war in his works. His working always had the strong ethnic kinship and contemporaneity characteristics. However, the mainstream value did not give him proper recognition cause of his workings constrained by the influence of specific historical and film ideas. According to that, Rereading Shi Dongshan’s films become to a very important issue in film history.This paper is divided into three chapters, the film as an art form, film as a social institution and as a technology system. Respectively explained the aesthetic pursuit reflected, social problems and technical development from Shi Dongshan films. |
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