Research On The Activities And Thoughts Of Zheng Yongzhi 's Films(1930 ~ 1943)

Zheng Yongzhi(1902-1983),film entrepreneur,founder and first director of a Chinese film studio.He was a journalist,a news photographer,a drama actor,and the Zheng Yongzhi(1902-1983),is a film entrepreneur,the founder,and the first director of the China Film Studio.He was a journalist,a journalist photographer,a drama actor,and the leader of the largest official film agency in the post Second Sino-Japanese War period.He joined the Blood Flower Drama Club of Huangpu Military Academy in 1925 to participate the drama performances.In 1931,he founded the New World News and China United News Agency.In the following year,he published The History of Songhu AntiJapanese Painting.In 1933,He was appreciated by Chiang Kai-shek for How to Catch the Weapon of Movies which was published in the same year,and therefore served as the director of the film unit at the Nanchang Xingying Political Training Office of the National Government Military Committee.In 1937,Wuhan Film Studio(later renamed as China Film Studio)was established in Hankou,Wuhan,for film shooting.From 1937 to 1943,he was the director of the Chinese film studio,meanwhile served as the director of the Film Section of the Third Division of the Political Training Department of the Military Commission of the National Government,the standing director of the enemy association,a deputy leader of the film projection team of the Political Department of the National Government Military Committee,a deputy head of China's Viva Theatre.During which he led colleagues of Chinese film studios to strive for producing a large number of remarkable films,participated in drama performances in the rear,and established a movie theater line in wartime and publishes film magazines and film series.In 1943,Zhang Zhizhong was dismissed from the role of director and in 1946 went to New York to inspect films.After returning to China in the 1950 s,he took up residencies in Nanjing,Beijing,Shanghai,Hong Kong and other places.It became a documentary film The Roar of China.In 1983,dying from the car accident happened in Taipei,he left an unfulfilled wish to write Memoirs from the Shadows.For the scale,quality and amount of productions are all unparalleled among the industry,China film studios occupied the central position of government-run film agencies in the rear period.Needless to say,these achievements cannot be obtained without the leadership of director Zheng Yongzhi.Zheng Yongzhi is not just playing a political role in the government-produced film system.Through the ideas and practices in filmmaking,participation in creating cultural activities,and the establishment in the scale of the official film business,he left profound marks in the history of Chinese film.This essay demonstrates Zheng Yongzhi's life trajectory from 1930 to 1943 and his contribution to early Chinese films,starting from his film production with the evidence of archival records.This article consists of introduction,main chapters and conclusion.The introduction illustrates the meaning of the topic,the overview of researches in China,the collection and preparation of historical materials,and research methodologies.The main body is an analysis of Zheng Yongzhi's film activities and ideas respectively according to his significant hallmarks in film production from 1930 to 1943.The first chapter starts with Zheng Yongzhi's early film activities(1930 ? 1933),and laid out Zheng Yongzhi's early experiences in the press and film industries.Before 1930,he was originally employed in the political work department of the Huangpu Army for literary and artistic production.Because of unachieved expectations in military career,he decided to leave the army.In 1930,he returned to Shanghai to establish New World News and China United News Agency,as well as the publication of History of Anti-Japanese Painting in Songhu.During working on films in journalism industry,he gained recognition by Chiang Kai-shek for publishing How to Capture the Weapon of Film,and became the director of the film unit of the Nanchang Xingying Political Training Office of the National Government Military Committee.Early literary and artistic working experiences gave Zheng Yongzhi access and experiences in the film industry.From there,he stepped into the realm of films.The second chapter analyzes the formation of Zheng Yongzhi's concept of official films and its contribution to the establishment of official film system(1933 ? 1938).Under the three factors of "political training" politics,the strengthening of censorship by the Kuomintang,and the rise of educational films,the concept of official film came into play.Zheng Yongzhi's How to Capture the Weapon of Film provided a set of programmatic,comprehensive and systematic operations.Then in 1937,Wuhan Film Studio(later renamed as China Film Studio)was established in Hankou,Wuhan.It produced Protect Our Hometown,800 Heroes,feature films such as Blood Loyal Soul,Anti-Japanese War documentaries,and journalist films,etc.At the same time,his presence in the fury of the tide drama company to perform stage and street dramas,promotes film and theatre activities at the first phase of the confrontation war.The third chapter summarizes Zheng Yongzhi's film activities in the period of the Rear Area(1938-1943),his thoughts on factory management of "Chinese system",the construction of the film culture,the evaluations of theories in official film,and the contributions to the refinement of the official film system.The paper uses historical documents,films,memoirs,and interviews with Zheng Yiping and Miao He(the descendants of Zheng Yongzhi),to retrospect the life of Zheng Yongzhi,in his self-driven devotions in film career.Besides,it reviews his exceptional contributions in early Chinese film industry,and the hidden trajectories in the profoundness of his film theories.