Misreading Of "German Expressionist Films" In The Press Of The Republic Of China (1921-1933)

German expressionist cinema is the most brilliant artistic crystallization of Weimar cinema.After 1920,these films traveled far across the ocean and were released in China one after another,causing a lot of discussion.The newspapers and magazines of the Republic of China established a set of evaluation discourses for German films,with art,nationality and science as the key words.Such cognition is significantly different from the writing of mainstream film history.The first chapter focuses on the mainstream definition of "expressionist film",as well as the lack and confusion of this title in the Republic of China.Then it discusses the generation of this title and the time difference of travel,as well as the strong discourse on innovation and revolution constructed by the fanatical translation and introduction of the "Expressionist Movement" in the newspapers of the Republic of China at that time,and to some extent occupied the "Expressionist Film".the discursive space of this concept.The second chapter,the construction of the myth of German expressionist film art by the press of the Republic of China,as a whole,is "de-madness",but the exhibition of the theme of madness is an important part of the achievement of German expressionist film art.Specifically combined with the film text of "Dr.Caligari",it explores the proliferation of "madness" in the text generation stage,and why "madness" became an unrecognizable existence in the eyes of the audience of the Republic of China.The third chapter,"nationality" is another important label used by the newspapers and periodicals of the Republic of China in constructing the myth of German film art.In The Song of Berronen,Kracauer believed that the authoritarian tendencies shown in this film were recognized by film critics in the Republic of China as a kind of "martial spirit" and were praised.Behind it was a special historical background.national anxiety.The fourth chapter,"Science",as one of the pillars of the German film art myth,reveals the audience’s expectations for the role of film education in the Republic of China.However,the horror film tradition of German films and the technological trauma brought about by the First World War made the display of science and technology in German expressionist films often used as elements of fear rather than intellectual content.In the movie "Metropolis",the creator repeatedly used the heterogeneous and isomorphic relationship of "technology-witchcraft" to show the catastrophic nature of technology.However,intellectuals who have been armed with Marx’s economic theory paid more attention to the compromise position of "labor-capital coordination" in the film and criticized it.The fifth Chapter,the misunderstanding of "German Expressionist Film" is the inevitable result of the combined effect of the traditional artistic concept of "literature conveys the truth",the collective unconscious "idolatry",and the double force majeure of "enlightenment and salvation".It is also an active creation of the intellectuals of the Republic of China to actively construct their ideal self and self-improvement.