In general, the introduction of foreign films and the development of local films in the 1930s renewed the modern urban culture in China. Although Chinese filmmaking was far behind Hollywood films in 1930s due to equipment limitations, it did not fully embrace foreign influences in the content. The depiction of modern women, for example, still retains tradition in its bold display of glamour. Another example is that ‘Labor’s Love’ was shown in a teahouse, a place that represented mass culture. Although the film still followed the old story formula, it expressed Zheng’s desire to criticize and reform the feudal view of love. The spreading power of film is much stronger than traditional theatre, which is important for the breakdown of the feudal view that binds the spread of such new thoughts. It showed that Chinese film was not only an entertainment but also a tool to beautify life and educate the masses. In fact, I think the education purpose is very obvious in some Chinese films, but in view of the labor’s love, the origin may not be political but the spirit of those film’s pioneers.
Zhang Shiyan
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