On Sun Yu's Films And Shanghai, 1932-35

Sun Yu was the first Chinese in the United States received formal higher film education, master a set of relatively mature, relatively systematic film knowledge. In the artistic skill and understanding of the socio-cultural analysis of the ability to achieve an outstanding level. Sun Yu's film has been widely welcomed by the community aroused enormous social resonance. This paper attempts by Sun Yu and his film study, to restore the 1930s a number of social and cultural side of Shanghai.In 1905, abolished the imperial examination system, new forms of education to society with a large amount of new knowledge, with the ability to think independently of new school graduates. A small number of these educated young people, by studying abroad, to become leading figures in the era. Sun Yu is one of the outstanding ones.From the broad scale, active in the 1930s, Chinese film industry's "films Renaissance" and the Lianhua Film Company, is Sun Yu in the 1930's the peak of his career background of film, and art platforms.1932-34, Sun Yu screenwriter directed six films be called representative of the era, are always recognized as left-wing film. Sun Yu's film has a distinct gender-subversive means. His film heroes are mostly young women. Sun Yu had given them a strong personality or a noble rebel political consciousness. A highlight for the male-centered society of subversion which is a clear sense of left-wing.Specific to the socio-political consciousness point of view, Sun Yu's film mainly reflected and transmitted: the struggle against imperialism, especially the sense of Japanese imperialism; double oppression of class and gender resistance, as well as against traditional moral values such the ingenious combination; a strong awareness of social issues; emphasized collectivism, rather than individual heroism consciousness.Modern China's deep historical mission is to build a modern -nation. The film is a lot of viewers are watching at the same time, and far more than playing a type of art. In the film at the same time, newspapers and magazines, there will be ads, posters, etc., and so constitute an imagined community. This is the key to building the nation-state. Sun Yu's every movie almost never forgot to tell the audience the oppression of Japanese imperialism, the Chinese nation faces peril. Through real-life stories, inspire and awaken the audience's sense of nationalism.From China in 1924 set off a wave of national revolution. Began in late 1929, the world economic crisis, the world set off a wave of reflection on the left-wing of capitalism. Japan's looms, but also to all the Chinese people to understand the imminent foreign invasion. Revolution and the left-wing sense of salvation has become theme of the times. Left-wing Writers Union which is led by Communist Party of China has also emerged at this time. Meanwhile, the KMT and the national government, although opposition is the sense of class struggle, and its fight against Japanese aggression, anti-imperialism of the unequal treaties imposed on China to oppose the old sense of the warlords has not changed.Sun Yu's films took a clever strategy for survival. For example, in the film, will fight an object designed for the northern warlords, criminal and evil forces in rural areas. By punishing evil and promoting traditional moral models to elucidate the kernel of class struggle. The surface, the consolidation of the legitimacy of the national government to meet the national government carry forward the traditional culture, the idea, while ingenious expression of left-wing thought connotation.