중국공산당의 만주영화협회 접수와 동북영화제작소에 남겨진 만주국 영화의 유산
CCP’s Takeover of the Manchukuo Film Association and the Legacy of Manchukuo Cinema Left to the Northeast Film Studio
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This paper intends to explore the significance of the film production in Manchuria between 1945 and 1953 in the history of Chinese cinema. After the defeat of the Japanese empire in 1945, the Chinese Communist Party took over the staffs and facilities of the Manchukuo Film Association, which used to be a very important ideological apparatus of the Japanese puppet state Manchukuo, and reorganized it into the Northeast Film Studio in 1946. In Chinese film history, the Northeast Film Studio is regarded as the legitimate heir to the progressive cinematic tradition of China, mediating the Yan’an tradition and the PRC cinema. This paper mainly explores how the legacy of the Manchukuo Film Association shaped the film production of the Northeast Film Studio. I argue that the CCP’s takeover of the Manchukuo Film Association and the cooperation of the latter’s Japanese and Chinese staffs created the conditions under which the PRC’s propaganda film convention was formed in the late 1940s. I also demonstrate how some of the techniques, genres, and themes from the tradition of the Manchukuo Film Association persisted in the films made by the Northeast Film Studio during this period.
Abstract
This paper intends to explore the significance of the film production in Manchuria between 1945 and 1953 in the history of Chinese cinema. After the defeat of the Japanese empire in 1945, the Chinese Communist Party took over the staffs and facilities of the Manchukuo Film Association, which used to be a very important ideological apparatus of the Japanese puppet state Manchukuo, and reorganized it into the Northeast Film Studio in 1946. In Chinese film history, the Northeast Film Studio is regarded as the legitimate heir to the progressive cinematic tradition of China, mediating the Yan’an tradition and the PRC cinema. This paper mainly explores how the legacy of the Manchukuo Film Association shaped the film production of the Northeast Film Studio. I argue that the CCP’s takeover of the Manchukuo Film Association and the cooperation of the latter’s Japanese and Chinese staffs created the conditions under which the PRC’s propaganda film convention was formed in the late 1940s. I also demonstrate how some of the techniques, genres, and themes from the tradition of the Manchukuo Film Association persisted in the films made by the Northeast Film Studio during this period.
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