Study about the Background of Chinese Film Revival in 1930’s

AHN, SANGHYUK; Han, Dal-Ho

This dissertation is aimed to introduce collected materials as precedence study process for Chinese film study in 1930’s. This time was got rid of the modern time’s identity, was represented personal thinking’s start, and considered individuals’ lives In a boundary between tradition and modern ages, combination of cultures was running in a rush without knowing time is running. Also, Shang-hai in 1930’s was a properly perfect space for film industrial development to present summarily the colonialistic modern, and offered film consumption circumstance. The left-wing line’s film directors who desired new change supported ‘the left-wing culture social business’ on having attention of that age’s society contradiction. Additionally, almost film makers informed resistance to Japan and democracy, left-wing films helped agitprop through film award to finally approach Chinese film’s golden era. 1930’s Chinese film was expressed human’s pain and reality as opposed to conceal Shang-hai’s splendorous and attractive side, and film’s massage was extremely impressed by sound’s effect the changing point from silent film to vocal film. Therefore, socialism realism films claimed anti-imperialism, semi-feudalism and the citizens’ centre, films of strong social characteristic were being exposed bitter reality in 1930’s films than conventional happy ending in 1920’s films. Also, a modern woman’s signification as modern values change was presented social identity, not by beauty’s object that patriarchy system defines.

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REFERENCES (27)
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* 2021년 이후 발행 논문의 참고문헌은 현재 구축 중입니다.

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