Research On Sang Arc’s Interpersonal Relationship And Film Culture Communication

Sang Hu(1916-2004),formerly known as Li Peilin,was born in Shanghai.He originated in Ningbo,Zhejiang Province.He is a director and screenwriter in China’s mainland.He is an important witness and witness of the film development and changes in Shanghai during the "isolated island" period,the Japanese occupation period and after liberation.He studied with Zhu Shilin and cooperated with Zhang Ailing and Xia Yan.He followed the development and changes of the times in film creation,leaving many popular works,including feature films,drama films,documentary films and other film types,which are rare in the film world at home and abroad.When compiling the history of Chinese film,the academic circle attributed sang arc to the marginal situation outside the mainstream filmmakers.Scholars’ research on Sang arc mostly focused on the analysis of film content and types.In contrast,they paid less attention to Sang arc’s interpersonal communication,film transformation process and film creation theory,and lacked systematic and in-depth research.Taking this as the starting point,this paper uses the interpretation framework of social relationship network analysis,interpersonal interaction theory and cultural communication to explain the value and concept of Sang arc,clarify the interpersonal relationship,the reasons for creative transformation and the concept of film cultural communication,so as to clearly understand the reasons why it is underestimated in the process of Chinese film development.Specifically,the main reason is that in the path of Chinese modern film criticism,people choose realism as the main axis and take the most stable film phenomena such as social films as the object of praise,so as to eliminate the multiple development trends of public noise in the history of Chinese film.Sang arc and its partners Zhu Shilin and Zhang Ailing are located in relatively prosperous and stable Shanghai far from the front of the war of resistance against Japan.According to class,they belong to the middle class.They do not have a clear understanding of the life and scenes in the big front area.Their works can only present their familiar life picture and reflect the mirror image of the middle class.Therefore,when cooperating with Xia Yan,sang arc can only shoot scripts and dramas adapted from the May 4th literature.However,in the so-called marginal place of film,sang arc created his own film concept,that is,attaching importance to the model,but not unfamiliar with the world outside the model;Stay on the edge without ignoring the endless creativity and possibilities in the film tradition.