Ancient Nostalgia:The Early Exploration And Practice Of "Chinese Story" In Tianyi Films

Tianyi Film has long been criticized by the official film history as being motivated by commercial interests,outdated ideas and a lack of artistry.It was not until the 1990s that the film circle,under the advocacy of "rewriting film history",deeply explored and studied China’s modern film companies.Shaw Film Company became a hot topic,and its predecessor Tianyi Film Company’s business philosophy,business approach,creative practice and work value were re-examined by the academic circle.From the perspective of"Telling Good Chinese Stories" in the new era,we will re-examine Tianyi Film Company’s creative ideas,film works and its promotion and screening activities in Shanghai,Hong Kong and the Nanyang Islands from 1925 to 1937,and strive to learn from the past and present.Tianyi Film Company’s adherence to and contribution to national traditional culture is actually the conscious exploration and practice of "Chinese stories" by early national film enterprises.This paper is divided into five parts.The introduction part determines the background,literature review,research methods and research significance of this topic.The first chapter is to sort out the social background and early performance of the birth of Chinese ethnic films in the 1920s,to understand the overall situation that under the influence of Western culture,the traditional culture was retreating and shrinking,and the ethnic film industry formed a situation of diversified and differentiated competition,highlighting the spirit of"Confucian businessman" and the conservative and ancient creation purpose of Tianyi Film Company and the consciousness of protecting national culture behind it.The second chapter describes Tianyi Film Company’s focus on the image representation of classical literature and folk literature,and its active transmission of traditional Confucian moral concepts such as "benevolence","justice" and "loyalty and filial piety".Then,it explains the innovative performance of Tianyi Film Company’s genre films from three aspects:the introduction of ancient costume historical films,the development of martial arts films and the introduction of new Cantonese films and Cantonese opera films.The third chapter studies and analyzes that Tianyi Film Company integrates the concept of "virtuous" and "virtuous" into star shaping,caters to the public’s "common" cultural aesthetic,and satisfies the nostalgia and utopia complex of overseas Chinese in South Asia with Chinese stories under the public opinion war of "capturing the quintessence of Chinese culture",celebrity "consumption" and "twin twins" strategy speculation,so as to effectively realize the publicity and promotion of Chinese stories in Shanghai,Hong Kong,Guangdong and South Asia.The fourth chapter explores the national culture of Tianyi Film Company on the basis of the previous analysis.Firmly grasp the traditional cultural elements,help Chinese people remember folk symbols,in the Chinese imagination through the social ideological transition period.In the collision of Chinese and Western cultures,it localized Western literary works and integrated Oriental traditional concepts,grafted mass media and local dialects,and firmly maintained national culture in the face of foreign cultural invasion.Finally,Tianyi Film Company and its works reflect their confidence in Confucian traditional culture,which echoes the new look of Confucian culture and the new task of film art in the modernization of contemporary Chinese society.