11903

11903

04820128

SHANGHAI UNIVERSITY

DOCTORAL DISSERTATION

1945-1965

20076

,

1945-1965

200706

A Dissertation Submitted to Shanghai University for the Degree of Doctor in Art Science

The Divisions, Splits and New Developments of

Shanghai Cinema Traditions (1945-1965)

The Affiliation and Tendencies of Shanghai, Hong Kong and Taiwans Cinema in the Perspectives of Institution, Personnel and Culture

Ph.DCandidateLiu Yuqing

SupervisorProf. Chen Xihe

MajorChinese Modern Culture

College of Liberal Arts, Shanghai University

June, 2007

8030

1945196580

1949

ABSTRACT

Since the 1980s, the cooperation of capital, personnel and production in cinema has become more and more frequent among the Mainland China, Hong Kong and Taiwan. On a mutually beneficial basisyears of political division and separation was finally broken and has now been replaced by the above-mentioned cooperation in every aspect fundpersonneland production. The thirty years gradually saw the blend and trend of regional integration. Film makers and scholars among the film circle has also reached the common understanding that Chinese film is a community by the joint efforts of the Mainland China, Hong Kong and Taiwan. And accordingly, the Chinese film is now named asfor political divergencethe Chinese language film.

At present, the integration of politics, economy and culture among the three regions become more and more stable, and the tripartite cooperation and production practice have become well blended as milk and water in complete harmony. As the film scholars greeting, they eventually form their research focus on Chinese language film, Rewriting the film history and Culture study. Compared with Chinese film, the so-called Chinese language film seems expanded in connotation; as a basic research category, Rewriting the film history is, effectively the logic starting point and the important final settling place, of the study and research of the discipline development; Culture study is a new worldwide cross-principal, cross-cultural approach and paradigm. If the three aspects are integrated, a more grand project is to be obtainedthe researchers are to achieve the general narration of the Chinese cinema history through adopting the of the culture study and rewrite the Chinese language film history.

Titled as The Divisions, Splits and New Developments of Shanghai Cinema Traditions (1945-1965),the present paper is actually about the affiliation and tendencies of Shanghai, Hong Kong and Taiwans cinema in the perspectives of institution, personnel and culture,It is also actually a sub-topic for the study and discussion of the Chinese cinema history. The present paper aims to study and interpret a detailed question and a specific duration of the general historywhich is like to build a genuine and sturdy brick in the Great Wall, to provide the future researchers and readers with the necessary proof and clue. Moreoverthe paper also aims to explore the spiritual source of the gradual converge of the three regions and the history and cultural reasons for the focus value of Shanghai cinema tradition in the study of the Chinese cinema history.

This dissertation can be divided into six parts. The Introduction part expounds reasons,value,and makes clear the writers position on this study and the main approaches adopted; Chapter One, The connotation and distinguishing features of Shanghai cinema tradition, analyzes the background and context which formed the tradition in three aspects institution, personnel and culture. The present paper points out that Shanghai cinemawhich characterizes as a private industry, with a personnel tradition of free employments, tends to form a dialectical polyphony of cultural conventions; Chapter Two,Shanghai cinema tradition and new Shanghais cinema, studies the changes Shanghai cinema has made since 1949 through three factors institution transformation, personnel adjustment, and thoughts rectification; Chapter Three centers on the who traveled southwardexplores the inheritance of Shanghai tradition by the Hong Kong film in every aspect institution, personnel and cultureaccording to time, and makes a deep comparison and analysis on realism which presented in both Hong Kong and Shanghai film; Chapter Four expounds the inheritance of the institution and culture of the Shanghai tradition and new changes made through the migrations from Shanghai to Taiwanor from Shanghai to Taiwan via Hong Kongwith a list of examples Propaganda film, Healthy Realistic filmthe Hui Huangmeifilm, and Qiongyao film; the writer achieves the conclusion in the last part of this paperShanghai cinema tradition has every reason to become the central value standard of the rewriting of the Chinese Cinema Historywhich characterizes as metal-cultural tradition; The common structural relations between the changes of the Shanghai cinema tradition and the several important turning of the development history of the Chinese cinema may be an important reference to the periodization of the Chinese cinema history.

The eventual aim and value of this dissertation is the very first step of the exploration of the rewriting of the Chinese Cinema History. Butas the research in a strict sense is still in its babyhood, the present conclusion could hardly be called an early conclusion.

Keywords: Shanghai Film Traditions, Institution, Personell, Culture

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