A Study Of The Cultural Landscape Of Chinese Cinema Before The War Of Resistance Against Japanese Aggression

Before the outbreak of the War of Resistance Against Japanese Aggression（before July 1937）,Chinese cinema underwent a process of developing from scratch,from documentary video to film to film,into an independent art.As an "imported product",film has been accompanied by great changes in the modernization of Chinese society since it entered China.As a commodity and communication medium,film is the spiritual symbol of modern consumer society and a bridge between Chinese and Western civilizations.Chinese audiences have accelerated their understanding of modern civilization through watching movies,and Chinese filmmakers have fulfilled their commercial or political ideals through movies.Guy Debo saw the landscape as the face of capitalist power,calling it a materialized worldview.By looking at the landscape,we can see its appearance and can also parse the social relations implied in it.When people analyze landscapes,they have to use the language of landscapes.As an art of image,the landscape in the film begins and ends with the screening,and the landscape in the image is also a record and reflection of the times and social changes.This paper attempts to analyze the cultural landscape of Chinese films before the war of resistance against Japan,from the perspective of geography,politics and poetics.In the geographical dimension,this paper mainly analyzes the connotation of the two opposite geographical landscapes in this stage.From the political dimension,this paper analyzes the performance of landscape in the process of film criticizing Chinese traditional morality and constructing a new national discourse system.It also discusses the loss of public discourse space under the background of "the struggle between the Phoenix and the crane" in the 1930 s.From the perspective of poetics,this paper discusses the wandering poetics of Chinese films in the colonial context,the modern poetics embodied in the construction of family and female images in films,and the early filmmakers’ poetic exploration of montage mirror language.These explorations also influenced the image and theme style of early Chinese films,and made the cultural landscape of early films more obvious with Chinese characteristics.