Research On The Thoughts Of Yu Ling’s Film And Theatre(1932-1941)

1930s,it is the "golden age" of Chinese films,and it is also the overall transformation stage of Chinese dramas moving towards "professionalization".During this period,many filmmakers and dramatists applied their own artistic ideas that have the same origin between the two fields.Their works are integrated in many aspects such as creation,production,artistic presentation,and ideological resonance.The twins and interactions of film and theater continue to influence and promote the historical process of film and theater art.Yu Ling(1907-1997)was a famous drama writer,film director and screenwriter in my country.He is best known as a playwright,but he is also a member of left-wing films and has published many articles on film theory and criticism.,which had a profound impact on Chinese cinema in the 1930 s and 1940 s.From 1932 to 1941,Yu Ling was engaged in the creation,commentary and management work closely related to drama and film.In the long-term artistic practice,his film and drama thought gradually formed its own characteristics.Yu Ling’s unique understanding of drama,film and their interrelations permeates all his artistic activities during the Left-wing Film Movement and the Isolated Island Drama Movement.To sum up,his film and drama thoughts have the following four basic characteristics:One is the deliberately concealed political orientation.The harsh political environment in the 1930 s made progressive films and theatrical activities repeatedly suppressed.In such an environment,Yu Ling,who was the vanguard of the left-wing movement and the isolated island movement,could only deliberately conceal her political inclination with a left-wing stance.This is not only Yu Ling’s fighting wisdom in dealing with the real situation,but also an important feature of his thoughts on film and drama in the 1930 s.This is the basic content of the first chapter.The second is flexible business practice.It is not easy to gain a foothold in Shanghai during the isolated island period.On the one hand,Yu Ling needs to stabilize the left-wing ideological position.On the other hand,he must seek self-protection and survival in the complex business environment.The "deformed and prosperous" era environment of Shanghai’s isolated island forced Yu Ling to "come down to one another".Facing severe and severe business competition,only by responding flexibly and flexibly can she better stabilize her position and seek development.Ideas naturally have obvious commercial practicality.This is the basic content of the second chapter.The third is a clear-cut realism.Yu Ling’s film review content and drama works have a strong realistic pertinence.He emphasizes the need to go beyond the surface experience of the characters,reveal the real situation of the society at that time and the spiritual predicament of people,and put the things that cannot be expressed or neglected in real life.Either directly or euphemistically to the public.Yu Ling tried his best to dig deep into the value connotation of the films he reviewed,and he also had a unique and profound understanding of film technology,the cultivation of drama talents,and the pursuit of artistic value.doctrine concept.This is the third chapter.The fourth is the concept of film and drama integration.In Yu Ling’s artistic conception,film and drama are mutually integrated and complementary in terms of creation,management,and criticism.Yu Ling frequently shuttled between the two arts of drama and film,making the two closely interact and communicate with each other in their thoughts.Thus resulting in cross-domain penetration and tight compounding..This is the fourth chapter.In a word,1932-1941 was the stage of Yu Lingying’s drama thought from budding,developing to maturity.His artistic practice not only showed a consistent political consciousness and a thinking mode of actively adapting to the business environment,but also full of the pain of the times and the reality of the times.Not forgetting the self-requirement of the original intention of art,he is deeply influenced by left-wing theories in terms of discourse expression,behavior,and artistic propositions in the field of film and drama,so his film and drama ideas have always maintained the advanced nature and purity of left-wing warriors.