Research On The Government Control And Management Of The Filmdom At The Times Of Republican China

It's exigent in theory to reconstruct the film historiography and re-depict the science of history when the Chinese filmdom celebrates its one hundred anniversaries. A right cut-in point to come near the historical spot over the century is to resurvey the historical relation and research fruits. The author intercepts the period over20 years of Kuomintang's management and control in the film industry in mainland to expose the value and profundity meaning, as a demonstration in the film development in the past century.The research into the film history has been framed between one ideology and another for decades. As a case stands the significance that the exploration into this field of KMT goes far beyond the industry itself, for instance, the control over culture, protecting the Party body, popular enlightenment and education through visualized tools so as to rule the country effectively. As a progressive party and renascent force in early 20th century, the KMT regards the borrow-in things from the west completely different from any political bodies before, neither refuses nor restricts but "take it for use". This essay, based on abounding original archives, datum, files and materials, focuses on the government's involvement in film industry, intends to outline its hard exploration and instrument consciousness distinctly.The essay includes seven chapters.Guidance - stating the reason to work on this subject. This part summarizes the present theory researches and analyzes objectively the settings of the film historiography, proves that why the government strengthens the management and control by means of movies through the first-hand supporting materials. The author also clarifies the valuable and realistic significance of the paper since related researches remain blank in this area.Chapter One: Maintaining moralization -the government's attention to the industry. Initially, the authority issued related examination policies to ensure the educational functions of movies for moralization. The author clears the starting time of the film censorship through first-hand archives and evaluates positively the transformation from flinty "scissors policy" to soft screenplay checkup, and the contribution to the industry of the Shanghai Film Censorship Committee.Chapter Two: Standpoint Disputation - the first campaign between Chinese Communist Party(CCP) and Kuomintang(KMT) in the film industry. Any piece of exoterica works has its tendency. It is especially sensitive for movies to show up in the 1930th. The dispute arouses between CCP and KMT ideologically, but what sternly attended by the top authority is the report, the CCP and Art of Movie, by Lu Diping, who has been regularly mentioned by other researchers, but not in detail. In this essay, the author reveals what behind the curtains, appraises approximately about the historical event upon the archives, especially how the authority investigated and commented on Lu's articles and views, attests that the survival of the left-wing films owes much to the negative conclusion of Lu's incident.Chapter Three: Film Operations - obvious uses as tools. The article How to Take Movie as Weapons, by Zheng Junsheng, outlines a blueprint of filmdom in China in future, has always been regarded as guiding principles of KMT authority to develop the film industry. Many constructive suggestions described in this article fail in implementation because of the wars and civil turbulent situations, even some of those approximately in line with the top officials to make complete uses of wireless tools and movies, still stand high in the film historiography. Under the guidance of this theory, movies as instruments become visible in managing the country and lead to the birth of two state-owned organizations, China Central Film Studio(CCFS中电), represents the Party, and China Film Studio(CFS中制), stands for KMT Army, both are tools of moralization and propagandizing of the KMT authority. Chapter Four: Attention Both Internal and External - the KMT's essential control over filmdom. In 1930th, China was an attractive nation to the outside world for its unique traditional cultures, western movie-doers came to shoot and make photograph with their camera lances to discern Chinese economy, society and culture. Slums, shabby shelters and beggars, foot-binding women, vegetarian monks, county gentries and so on, all come into the westerner's cameras. The authority thinks it is very important that nation's image, social customs so the foreign film makers are forbidden to make movies in China. Shao Lizi also makes a proposal for the bans. Zheng Yongzhi, a movie star of KMT, his image and acting style are basically formed at the time, indicate the deepening of film theory of Three People's Principles. The KMT authority sets up distribution channels to get prepared for the nationalization of the KMT ideology no matter how difficult both CCFS and CFS, are facing fierce tribulations during the war.Chapter Five: Education Film - Vision of KMT to manage the nation. According to Dr. Sun Yetsan's National Reconstruction Guiding Principles, the KMT authority carry out step by step to develop the film industry, using it as a tool to educating and cultivating people, it's also the new route to monitor the folks. In this chapter, the author uncovers the facts of educating films at the very beginning, and takes a glance at the film making activities in universities, narrates objectively how the first film Spring of Peasants gains international awards. The author still makes researches into the found of theory and achievements of educating film.Chapter Six: Managing State with Films - the general objectives of KMT's control over culture. This chapter focuses on the argument between nationalization of moralization and the saving of the nation via films. The Government issues National Reconstruction Guiding Principles during the period of Anti-Japanese War, in which implementation of teaching materials at wartimes, cultivating citizens are set as the guiding principles. It requires that teachers in schools, universities at all levels should serve for the Party, combines politics and teachings together, thus schools and universities are basically the tools to enhance ideology unification. Chapter Seven: Historical Echoes - the termination of the KMT's control over film in mainland. The termination of the KMT's management and control over film comes together with the collapse of KMT in mainland. The author analyses the future of the film industry and a serious of crisis of state-owned film studios, and concludes with the point of materialism that filmdom under KMT authority must come to an end.The author objectively evaluates the historical status of the KMT controlled film industry in both horizontal and vertical point of view and attempts to trace back the film history when KMT government in power in mainland over 20 years in 20th century. The author also proves the historical fact that the purpose of the management and control over the film of the KMT is serving for the nation.