중국 홍색 영화의 발전 양상 연구

Abstract

Red films refer to a series of Chinese movies produced at different stages of the development of the Chinese Communist Party’s leadership in the film industry. These films typically promote the mainstream ideology of the Chinese Communist Party and often have revolutionary themes. This article categorizes red films into five different periods based on the stages of Chinese history: the Left-Wing Film Period, the Liberated Areas Film Period, the Seventeen-Year Film Period, the Main Melody Film Period, and the New Mainstream Film Period. The article aims to summarize and analyze the origins and development patterns of red films within these distinct historical periods. In the 1930s, as national and class contradictions intensified in China, the Chinese Communist Party established the “China Left-Wing Drama Writers Alliance” to strategically shape popular class consciousness and assert control over the Chinese film culture. During the Liberated Areas Film Period, within regions under effective Communist Party control, their influence over the film industry transitioned to “direct leadership.” Films during this era primarily served as vehicles for news reporting, carried significant political messages, and were marked by their combative and propagandistic nature. During the Seventeen-Year Film Period, which coincided with the early years of the People’s Republic of China, the newly established social system posed challenges for the Chinese Communist Party. During this time, the Party struggled to fully grasp the essence and rules of the political system, and frequent political movements and interventions had a significant impact on the development of the film industry. During the Cultural Revolution, the only model films allowed the development of Chinese red films to flourish and become exhausted. This period did not fully achieve Mao Zedong’s aspiration for the “unity of politics and art.” With the reform of China’s economic system and the liberation of thought and culture, Red Films entered the Main Melody Film Period. In this era, Main Melody Films, while continuing to uphold the leadership of the Communist Party and its ideological propaganda, still emphasized grand narratives and paid little attention to the “individual.” New Mainstream Films, on the other hand, represent the commercialization of Main Melody Films. They not only inherit the ideological values of Main Melody Films but also focus on the relationship between individuals and the nation in their creative process. Through the efforts of individuals or groups, they achieve the grand thematic expression of the national ideology. Over the past century of Red Film development, under the firm control of the Communist Party and its mainstream ideology, Red Films have displayed different characteristics in different periods. However, their ideological propaganda core has remained unchanged. But with social development, the Communist Party of China has gradually realized that Red Films, solely focusing on ideological propaganda, can no longer meet the spiritual and cultural needs of the masses.