| This paper is trying to study the relationship between traditional opera andfilm from 1896 to 1949, based on the interaction as the starting point. Since theday of film of drama birth, opera and film have shown the complex relationshipon the crossover and fusion. Opera promoted the initial growth of film. But themovie that in the prosperous also helped opera renaissance when in multiplemedia symbiotic market environment. The whole process included filmdirectors’art attempt, performing artists consciously explore and filmproductions’business choice. And it is from these three aspects of the gamblingthat makes traditional opera film art and prosperity.In the introduction part, the paper summarizes the status of the study thatmainly is in accordance with the traditional opera film internal development andexternal political, economic, and cultural influences on traditional opera film.In the first chapter, the interaction between the opera and the movie isplaced in the political, cultural, economic background, using the theoreticalresults of psychology, filmology, science, economy and other disciplines toanalyze the cultural, political, and economic background of the birth of operafilms, and analyzed with the process of cultural invasion of the Westerncapitalist countries. It have brought to the opera film came to China after theOpium War that circuses, dog racing, movies, theater and other forms ofentertainment, such as concepts and accept ways of their influence. The opera selected film making from the clutter of early film company purposes of painopera film production activities and some directors and actors conscious.The second chapter, in view of the Western film first passed in Shanghai,but the fact that movie was born in Beijing, analyzed the status and influence ofBeijing’s political, economic and cultural center city. Made a brief introductionon how opera integrated Anhui Opera, Han Opera, Qin Opera to become thenational opera. This chapter focuses on opera campaign for improved analysis ofthe relationship between opera and film.The third chapter respectively selected Feng Tai Studio, Commercial PressMinistry of activities movie, Min Hua’s film company, Xinhua film company,Wu Xingzai’s investment company, to analyze the reasons and motivations offilm production, as well as during filming for the opera and film to explore theintegration and reflection.The fourth chapter has selected Opera artist Mei Lanfang’s film of dramacreation, to elaborate his film creation separately from the new influence andartist’s consciousness of culture two aspects. |
