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F I L M O G R A P H Y 2 4 9 Filmography The filmography includes films analyzed or mentioned in the book. Information for each film includes the English and Chinese titles, production studio or company, principal actors, director, cinematographer, screenwriter, and a brief annotation. Listings are arranged by the year of release. SPRING SILKWORMS CHUNCAN   Shanghai: Mingxing Film, 1933 PRINCIPAL CAST Xiao Ying, Yan Yuexian, Gong Jianong, Gao Qianping, Ai Xia DIRECTOR Cheng Bugao CINEMATOGRAPHER Wang Shizhen SCREENWRITER Xia Yan Adapted from Mao Dun’s story of the same title, this film was the first to adapt a May Fourth literary work to the screen. In addition to examining the subject of foreign domination of the local silkworm business, the film highlights a documentary style. WILD TORRENTS KUANG LIU   Shanghai: Mingxing Film, 1933 PRINCIPAL CAST Hu Die, Gong Jianong, Xia Peizhen, Wang Xianzai DIRECTOR Cheng Bugao CINEMATOGRAPHER Dong Keyi SCREENWRITER Xia Yan The first leftist film production, the film depicts class conflicts between peasants and landlords in 1932, when flooding along the Yangzi River swallowed southern China. The insertion of many documentary segments reinforces a sense of the social conditions of the time and establishes Xia Yan’s reputation as a leading leftist screenwriter. TWENTY-FOUR HOURS IN SHANGHAI SHANGHAI ERSHISI XIAOSHI   ! " # $ Shanghai: Mingxing Film, 1933 PRINCIPAL CAST Gu Lanjun, Gu Meijun, Zhao Dan, Zhu Qiuhen, Zhou Boxun DIRECTOR Shen Xiling CINEMATOGRAPHER Zhou Shimu SCREENWRITER Xia Yan F I L M O G R A P H Y 2 5 0 Framing an ordinary working day in a factory, the film crosscuts between the working class and the ruling capitalists. Using spatial dislocations, the film shows how the poor struggle to make a living while the rich enjoy the fruits of their exploitative practices. GODDESS SHENNÜ   Shanghai: Lianhua Film, 1934 PRINCIPAL CAST Ruan Lingyu, Zhang Zhizhi, Li Keng DIRECTOR Wu Yonggang CINEMATOGRAPHER Hong Weilie SCREENWRITER Wu Yonggang Through the image of the prostitute, the film illustrates an oppressive social reality. Such an image, however, contains polar identities. She is a lowly prostitute selling herself on the street yet a virtuous mother exchanging her body to pay for her son’s education. Doubly defined, she embodies social-gender meanings as well as moral conventions. LIFE RENSHENG   Shanghai: Lianhua Film, 1934 PRINCIPAL CAST Ruan Lingyu DIRECTOR Fei Mu CINEMATOGRAPHER Hong Weilie SCREENWRITER Zhong Shigen In contrast to leftist film productions, Fei Mu’s films use the female image to pursue philosophical issues rather than social criticism. The fragmentary life stories of females, from an abandoned orphan to a streetwalker, raise the question of how to define the purpose of life. THE NEW WOMAN XIN NÜXING   Shanghai: Lianhua Film, 1935 PRINCIPAL CAST Ruan Lingyu, Zheng Junli DIRECTOR Cai Chusheng CINEMATOGRAPHER Zhou Daming SCREENWRITER Sun Shiyi As the title suggests, the film continues the May Fourth inquiry into the nature of the new woman and what she can become after she flees the traditional household. The film portrays a modern woman, Wei Ming, characterized by her profession as a writer and by her individuality. In an urban milieu dominated by men and money, however, even a modern, independent woman cannot escape economic pressures; she ends up as a sexual commodity. The only way out, the film suggests, is to devote oneself to the collective force of revolution. F I L M O G R A P H Y 2 5 1 THE GIRL IN DISGUISE HUASHEN GUNIANG   ! Shanghai: Yihua Film, 1936 PRINCIPAL CAST Yuan Meiyun, Lu Ming, Guan Hongda, Han Langen DIRECTOR Fang Peilin CINEMATOGRAPHER Wang Yusheng SCREENWRITER Huang Jiamo This is one of the few films that represents soft-core film productions in the 1930s. Due to its plot twist drama of disguising a girl as a man, the film became the target of leftists, who accused it of ignoring social problems while indulging in vulgar romance. STREET ANGEL MALU TIANSHI   ! Shanghai: Mingxing Film, 1937 PRINCIPAL CAST Zhao Dan, Zhou Xuan, Wei Heling, Zhao Huishen DIRECTOR Yuan Muzhi CINEMATOGRAPHER Wu Yinxian SCREENWRITER Yuan Muzhi The camera tilts to the bottom of a skyscraper and begins to reveal the life of urban dwellers at the lowest social stratum in Shanghai in the 1930s. The use of journalistic motifs indicates China’s national condition at the time. Images of women as prostitutes as well as “angels” construct gender relationships defined by either male solidarity or ethical values. The film has become a classic leftist work owing...


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