Inheritance And Development: 1945-1965 Shanghai Film Research

1945-1965 Shanghai film development history,is a very important historical period of Chinese film history.Shanghai film in the past 20 years there have been unexpected changes,first in the post-war rapid recovery,development and even prosperity,the achievements of Chinese film and a brilliant,re-become the center of Chinese film.However,with the huge historical changes in Chinese society,the Shanghai film in a very short period of time quickly from the center into the edge.It is an important issue in the study of Chinese film science in the past 20 years.From the perspective of Shanghai film development history,this paper studies Shanghai film as a whole from 1945 to 1965.Based on the research of stealth and explicit discourse system of history,society,politics,culture and film,,The diachronic thinking,to explore the 20 years of Shanghai cinema video narrative concept,the theme of the times,names and nameless scenes,industrial mechanisms,type characteristics,collective cultural symptoms,national imagination,social emotions,symbol form,transmission pattern,resources And then to find the 20 years of Shanghai film in the same historical development context,access to the 20 years of Shanghai film common art essence of the paradigm and historical development of the dynamic structure,thus depicting the 20 years of Shanghai film development trend pattern,For the current development of China's film to provide a little historical mirror.In 1953,the paper divides the 20 years' Shanghai film into two stages,and makes a comparative study.1945-1952 this stage,the paper focused on looking for a high degree of development behind the Shanghai film,but because of the reality of political,economic and ideological dilemma formed social resentment,in the national imagination and revolutionary utopia attracted,the Shanghai film implied violence and Revolutionary image discourse,the image has been implied within the stage after the popular struggle,revolution,ideal and other narrative themes.1953-1965 this stage,we first from the perspective of communication,combined with the new regime to strengthen the national film communication network construction,breaking the Shanghai as the representative of the city center of the film transmission pattern,to build a rural-based film transmission pattern,looking for this Stage of the Shanghai film from the center to the edge of the political reasons,the second is the marginal areas of rural areas such as film communication space,objectively contributed to the spread of Shanghai film more widely,but enhanced the Shanghai film center main function.Third,at this time the Shanghai film in the political discipline,the type of characteristics,image symbols have changed,but the film as a rich and multi-faceted image code system,with history,opera,folk and other explanatory space of the film narrative code System,to achieve the type of film invisible presence.Fourth,in the new social system,the movie star has disappeared,but the outstanding people's actor selection,political star sports,audience voting and other political film activities still contain the star mechanism,the star still has a strong star effect,so the star became A paradoxical existence.Fifth,we focus on the art of Shanghai film,entertainment,commercial traditions in the Shanghai film,political mainstream film hidden in the past,thus retaining the Shanghai and Chinese cinematic art of traditional blood,become today's Chinese film valuable resources.The contents of the paper are divided into two series.There are two chapters in the above section:The first chapter of the main content:First,this stage of independent and multi-film mechanism research,the second is cross-media,across time and space to explore the spread of Shanghai film media form,the third is on this stage of Shanghai film mature star and star system,star typical Case study.The second chapter focuses on the political dilemma,the economic predicament,the plight of the film and video discourse system,the protest of the film,and the historical research and combing of the Shanghai film.At the same time,the core is to explore the post-war Shanghai public groups,due to the reality of suffering,the formation of hope and grievances and even resentment of social sentiment,and ultimately contributed to a large number of film works implied struggle,revolution,utopian imagination and other video discourse.There are two chapters in the second section:The third chapter is mainly on the basis of the establishment of a large number of film projection team,the formation of rural and farmer-based national film transmission pattern,Shanghai film with the new communication space to achieve a wider range of communication and influence.In the face of strong political discipline,the film image system of self-sufficiency,contributed to the opera film,historical film and other types of film features invisible existence.During this period,the film star because of political reasons,the two paradox is its essential characteristics.The fourth chapter is mainly from the Shanghai language film and mainstream film works to find out the artistic tradition of Shanghai film.And actively explore the invisible existence of foreign film resources in this period,to prove that this stage of Shanghai film open tradition still exists,as later Chinese films can successfully docked the important basis of foreign film art tradition.