Image China Chinese Film Art: 1945-1949

Author: Ding Yaping
Editor-in-Chief: Yang Ailun
Publisher:
Publish Date: 2005-07-01
Features: This book is the first attempt to study the cultural and artistic history of Chinese cinema in the 1940s. Currently, there are no specialized works on this topic. The post-war cinema of the 1940s emerged from the soil of post-war Chinese society while benefiting from the realistic tradition and the cultivation of popular thought raised by the emerging film movement in the 1930s. The 1940s post-war cinema grew from the post-war Chinese social context and was also nurtured by the realistic tradition and the spirit of popular thought advocated by the emerging film movement in the 1930s. In the 1930s, numerous film artists strove to place themselves in the tide of the times, seeking the position of cinema in the era and among the people. They reflected the fate of the lower strata of society and the suffering of the people in various new themes and methods, depicting and showing the national crisis, expressing the desire to resist Japanese aggression and the ideals of the people's revolution. The full outbreak of the "July 7th" War of Resistance shook the creative hearts of film artists. In the process of moving toward the documentary and popularization of war films, they adapted to the needs of war propaganda to varying degrees, altering their gradually maturing artistic personalities. Driven by a sense of national consciousness and the push of the national war, they quickly shifted to patriotic calls for resisting Japanese aggression. Although war is more powerful than any artistic or social trend in driving change, it, in a sense, reduced the artistic development of the entire national cinema. However, the attention and grasp of the real-life situation of the Chinese people and the conscious pursuit of the times in war films can still be seen as a continuation of the trajectory of the emerging cinema in the 1930s. At the same time, it serves as the prelude to the development of post-war cinema. Post-war cinema, brought to the forefront of culture and history, is rich in artistic tension, striving to seek new growth points for film art. Yet its foundation remains the pursuit of a prominent popular character, always inspired by the times. Its achievements still lie in the correspondence and dialogue between the film artists and the era they lived in. It can be said that the post-war cinema, with its flourishing landscape of blossoms, fully demonstrates its vitality and richness in the plasticity of historical continuity and spiritual evolution. This is precisely the result of grasping and expressing the times through the spirit of popular thought, a product of its era. How to present the life of the times truthfully, concretely, and meticulously on the screen, how to artistically grasp and reflect the overall environment of an era, and how to explore creative approaches under the guidance of new spiritual and humanistic spirits and film consciousness, and to establish a new height for one's work—these aspects show clear historical differences between post-war cinema and the cinema of the 1930s. Just as the 1930s became an active and glorious period in film history was first shaped by the Chinese society after the "September 18th" and "January 28th" incidents, the post-war cinema of the 1940s also developed in synchronization with and interaction with the era of the liberation war from 1945 to 1949. However, when we delve into the specific connotations and laws of film development during this period, carefully examine the different trends and evolutionary paths of the era's social reality, and strive to understand how these important intervening factors inevitably combined with the film environment and the direction of film development, we discover the profound humanistic and historical artistic content and constructive artistic historical significance of post-war cinema. That is: the unity of deep popular awareness in humanistic thought and open dialogue in artistic creation under specific historical conditions. The overall characteristics and constructive significance of post-war cinema lie in its extremely close connection with reality and its sincere, straightforward attitude toward life, showing sympathy for the lower classes. With an irresistible humanism, it criticizes social injustice and irrationality, faces the real situation and status of the people in turmoil and crisis, and returns to the reality of individual survival, delving into deeper, broader, and pervasive cultural realms. With their diverse backgrounds and ways of perception and cognition, they avoid being constrained by certain models and frameworks. Between the fleeting brilliance of the post-war cinema of the 1940s and the rise of the emerging cinema of the 1930s, although both share local realistic roots, the complex content of the new critical spirit and the popular consciousness of the people added by the 1940s cinema actually demonstrate the awakening and elevation of the essence of cinema as an art, as well as the importance and necessity of a broad dialogue between cinema and the times in a changed world.
Postscript: Several years ago, I had the privilege of passing the examination to become the first doctoral student in film studies in China, studying under the renowned film historian and researcher at the Chinese Academy of Arts, Professor Li Shaobai, to learn about the history and theory of film and the history of Chinese cinema. This book is my doctoral dissertation. On November 11, 1996, the thesis was approved, making me the first film doctoral dissertation to pass the defense in China. Recently, the thesis was included in the "Ninety-Five" project of the Chinese Academy of Arts and received publishing support. Now, as this book is published, I reflect on the strict teachings of my teacher and the complex yet familiar flavors of my academic journey, my heart filled with gratitude and nostalgia. I extend my deepest thanks once again to Professor Li Shaobai; at the same time, I express my gratitude to the late Shen Gao-sheng, as well as to Professors Zhang Baiqing, Wang Renyin, Lu Hongshi, and Bu Jian, for their support and assistance in my doctoral studies and the writing of this book. Regarding the study of the cultural and artistic history of Chinese cinema in the 1940s, there are currently no specialized works, and the attempt made in this book may have shortcomings. I sincerely welcome the readers' criticism and guidance.
Author
June 18, 1998