Imagination And Construction Of “Socialist City”

In the film creation during the ”17-year”(1949-1966)period after the China independence,the city has a unique appearance in the film.Since the film was regarded as a propaganda tool at the time,the urban film of this period also assumed the political and cultural mission as a supplement to the urban public works.The study of the "17-year" urban films can help us to discover the logic between the national ideological discourse and the ontology art of the film hidden behind the film and the city,and then to understand the relationship between the "socialist city" and “real city” that imagined and constructed.Take the imagination and construction of the "socialist city" during the "17-year" as the research content,first reason is that the construction of socialist cities in the seventeen years is the urban foundation we live in now,and an important part of China's modernity experience.In the introduction,the author summarizes the characteristic context and research status of "17-year" urban films,and on this basis,proposes the research ideas and methods of this article.It is divided into three chapters.The first chapter analyzes the city in the early days of New China and the current status of the film industry,and how did New China reconstruct the filmmaking context of the "17-year" period through the socialist transformation of the film industry,to make the film and the national ideology isomorphic,then to make the urban films as a supplement to urban public works.The second chapter takes the transformation as the key word and the urban films from 1949 to 1952 as the analysis text.It analyzes the consumption attributes through the transformation of the city and the elimination of the city.And to re-express the city,spread,and interpret the new image of the city by the film.By linking the reality of the city in the early days of New China and its screen representation,it analyzes how the film presents the transformation process from “consumption city ” to “production city”.The third chapter analyzes the isomorphism of urban film from 1953-1966 and city industrial construction,jointly constructing a utopia of "industrial city" on the screen and bringing the socialist industrial logic into the city in an all-round way.The cities in and out of the screen are transformed from “consumption city” to “production city”.Production has become a "socialist city" lifestyle,but this myth of "industrial city" eventually declared bankruptcy for practical reasons,and the "socialist city" lifestyle has also changed from "for production" to "hard struggle".From 1949 to 1966,the film of New China imagined and constructed a "socialist city" that was completely different from the present.This city reflects and symbolizes that the era has gone away.However,in the process of imagination and construction,the national discourse and the art discourse are not completely isomorphic.From the overlap and gap between the socialist city and its construction on the screen,we can find out how the film has reached a relative balance between "as a tool for class struggle" and "as an art." Analyzing and summarizing this historical experience can inspire our later film theory and practice.