碩士 / 國立臺南藝術大學 / 音像紀錄與影像維護研究所 / 104 / This study focuses on Xinhua Film Company (1933-1984), during the period of early Cold War in 1950s, and re-assembles the history of the Chinese Film Industry, starting from its shift from Shanghai to southern Hong Kong at the end of World War II. During Cold War, the Chinese film industry was confronted with the political division of China, and further influenced the film culture of Shanghai, Hong Kong and Taiwan. When R.O.C. government moved to Taiwan after defeated by the Communist Party of China (People's Republic of China, P.R.C), there were filmmakers who supported the R.O.C government and strongly opposed to “left-wing films.” In film history, they were called “Free Filmmakers.”(自由影人) As for the films they produced were called "Free Pictures"(自由影業), which were against "New China " ( People's Republic of China, P.R.C ). Xinhua Film Company was an example for supporting R.O.C. government and continuing to produce Mandarin films, rather Cantonese films after migration to Hong Kong.
The Xinhua Film Company was first established by Zhang Shankun in 1933 in Shanghai. Later on Zhang Shankun managed the Chinese Movie Joint Company Ltd., which was related to the left-wing film movement and the political struggle for filmmakers during the war of resistance against Japan（1937-1945.）When the Chinese Civil War ended in 1949, China was divided into “two Chinas”. R.O.C. government supported Hong Kong & Kowloon Cinema & Theatrical Enterprise Free General Association Ltd. (Free General Association, 港九電影戲劇事業自由總會有限公司), in which Zhang Shankun and his wife Tong Yuejuan played an important part while they managed to re-establish the Xinhua Film Company in Hong Kong at the same time. Through the discussion of the films produced by Xinhua Film Company and other films produced by Zhang Shankun in Hong Kong, this thesis will relate how the Hong Kong and Taiwanese film industries maintain Chinese film tradition and how the influence of the Cold War can been seen, particularly in Mandarin films after 1949. These films not only inherit the 1930s Chinese film aesthetics but also distanced themselves from the left-wing films’ spirit and turned into the R.O.C government’s megaphone.
| Identifer | oai:union.ndltd.org:TW/104TNCA5640007 |
| Date | January 2016 |
| Creators | CHANG, YICHEN, 張怡蓁 |
| Contributors | RAY, JIING, 井迎瑞 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 113 |
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