From 1920 to 1927,German expressionist films shone brilliantly on the world stage.Their most representative works,"Nibelungen"and"Metropolis",were both publicly screened in urban China at that time.The former was a combination of mythology and epic,very much to the popular taste,while the latter was more favored by the intellectual class for its science fiction genre and the theme of future.This trend of film also sparked contemplation among Chinese literary critics about the es-sence of film:Tian Han was captivated by the cold,fantastical abstract beauty of expressionism;Liu Na-ou placed greater em-phasis on the significant value of these filmmakers'exploration of light and shadow in establishing the independent status of film art.These distinctive expressionist works also influenced Chinese filmmaking in the 1930s.Industry elites such as Fei Mu and Wu Yonggang incorporated their most stylized lighting and set designs,as well as avant-garde implications,in films like"Lian-hua Symphony in Spring"and"Wave Washing Sand".At that time,different strata in China had different expectations on the form and meaning construction of German expressionist films.Moreover,the cultural schema of"film"tradition and the"beauty of neutralization"deep in the hearts of local Chinese audiences and creators ultimately determined the cross-cultural pragmatics encounter of German expressionist films in China,where,although it had sprouted,it had not yet converged into a trend.
关键词
德国表现主义电影/30年代中国电影/比较电影/光影/布景/跨文化语用学
Key words
German expressionist film/Chinese film in the 1930/compare movies/lighting/set design/cross-cultural pragmatics
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