The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp

2025/04/2319:02:38 hotcomm 1839

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

Shuxiuwen

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opportunity, domestic films formed an unprecedented prosperity in the mid-1930s. At that time, the so-called "three major companies" were the so-called "stars", "Lianhua" and "Tianyi". Among them, the company's publications published by "stars" and "Lianhua" were widely distributed and had a large number of readers. They were the two most influential film magazines at that time.

"Star" is the first company to propose changes when the film interface is facing a crisis. Therefore, the "Star Monthly" founded on May 1, 1933 is very different from the fixed model of previous company special issues. The magazine focuses on the discussion of the entire film strategy and is not limited to the promotion of a certain company or a certain film. Taking the first issue as an example, the articles of Fengwu (Aying), Xi Naifang ( Zheng Boqi ), Zhang Ishikawa , Zheng Zhengqiu and Chen Wu clearly show the anxious sense of mission and stubborn pursuit in the time of the changes of the times. The editor-in-chief of the magazine is Lu Xiaoluo.

The "Star" semi-monthly issue, founded on April 16, 1935, continues the characteristics of the monthly report and has a more vivid and lively arrangement. The publication was suspended from July 1, 1937 to the sixth issue of the eighth volume. Except for the sixth volume, the sixth volume produced 6 issues and 5 copies, each volume produced 6 issues and 6 copies, with a total of 48 issues and 47 copies. Gao Jilin ( Ke Ling ), Fan Yanqiao and others have served as editors. When explaining the purpose of the publication, Ke Ling, editor-in-chief of

, said: "This publication is published by celebrity film companies, but we hope that readers will not regard it as a general pure promotional publication; but a celebrity company's production in a kind of text other than the video - efforts in the other direction of film culture... There are many about celebrities here. The company's pictures and texts, but we will never have to exaggerate lying to deceive readers. "To implement the specific style, it is: "We must try our best to be beautiful in the arrangement format to increase readers' interest in reading; the text can be compiled lively and vividly, with more literary interest." ("Miscellaneous Notes after Editing", Volume 1, Issue 1)

is a pictorial magazine, which takes into account both ideological and entertaining nature, and includes both text, pictures and comics, with the focus on text. Among them, the introduction of "celebrities" produces, in addition to publishing conventional promotional texts such as movie skills and crew lists, also organizes the directors and actors of the film, and other staff to write creative motivations and filming experiences. Usually, when a new film is launched, a column will be set up in the publication, and the experiences of the main creators of the crew will be published, such as "The Night Comes in the Fragrance" (1935), "The Boatman Girl" (1935), "The Flower of Spring" (1936), "Peach and Plum Fight for Beauty" (1936), " New and Old Shanghai " (1936), "Diamond Diamond" (1936), "Qingming Festival" (1936), "Life and Death The films such as "Heart" (1936), "Cross Street" (1937) all adopt this method. The directors of "Heart" Bugao, Shen Xiling, Wu Cun, Li Pingqian, , Li Pingqian, Hong Shen, Xu Xinfu, Ouyang Yuqian, Yao Xinnong (Yao Ke), Yang Hansheng, Ying Yunwei, photographers Dong Keyi, Wang Shizhen, radioteers Lu Yinkeng and He Zhaohuang, actors Hu Die, , Zhao Dan, , Sun Min, Shu Xiuwen, Yuan Muzhi, Chen Boer, Bai Yang, Xu Lai, Ye Qiuxin, Wang Zhengxin, Wang Xianzhai, Gao Zhanfei, Huang Naisshuang, Gu Lanjun, Gu Meijun, Yuan Shaomei, Xie Yunqing, etc. have all written articles, which can be said to have mobilized the main army of celebrity companies.

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

Zhao Dan

Among them, Yao Xinnong's "About Qingming Festival" and Bai Yang's "The First Trial" are both the author's "first" experience. The former was written for the first time in writing a movie script, while the latter was the feeling of being on the screen for the first time. In addition to the above-mentioned concentrated publication, there are still several sporadic publications, such as Xu Xinfu's "Photography of "The Emerald Horse", Wu Cun's "When My Shadow Hoveres in the Street of Silver Mist", Cheng Bugao's "Say a few words for "The Brothers' Walk" and "I Feel the Feelings of the Universe in the Dream".In addition, it also includes some interesting life essays and miscellaneous notes from the directors, such as Wu Cun's "Moving Notes", Xiao Ying's "My Dance Sutra" by , Xu Xinyuan's "I'm Away from the Sea of ​​Suffering", Huang Naishuang's "My Life Recent Situation", Tan Ying's "Meeting Rite", Gu Lanjun's "A Extremely Small Things".

responded to some important and influential events and events in the film industry at that time. The magazine also gave timely reports, such as the inspection of Zhou Jianyun, Hu Die and others in Europe and the awards of "Fisherman's Song" (1934) at the Soviet International Film Exhibition, the death of Chinese literary giant Lu Xun, the release of the Soviet film "Abyssinia" at the Shanghai Grand Theater, and the release of the film "New Earth" (1937) jointly produced by Japan and Germany (the film openly pointed China's Northeast as Japan's "New Earth") in China. He published articles with historical reference value such as "Zhou Jianyun and Hu Die in the Soviet Union", "Zhou Jianyun and Hu Die in Paris", "Mothering the Cultural Giant Mr. Lu Xun", "Shanghai Literary and Art Film Drama Music Industry Fans' Declaration on the Atrocities of Sailors in Italy", and "Shanghai Film and Drama Industry's Protest against the Announcement of "New Tu" Yunhua".

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

Yuan Shaomei

There are also articles with historical material value "The Movie Comes to China", "The Desolate Zhengzhou Film Stadium", "The Founding Conference of the Film Industry Guild", Fan Yanqiao's "Historical Materials of Chinese Film" and other articles. In addition, the magazine has published several film and drama scripts, such as the stage script "The Moon" written by Xu Zhuodai, who was performed by the all-star lineup of "Stars", Hu Xinling's folk drama "The Story of the Tart Bottle", and Hong Shen's film script "The Universe in the Dream".

The photographers of the publication include Zhang Jinde, Ma Yonghua, Zang Changgeng, Wu Yinxian , Xu Xiaobing and others. In addition to printing and publishing stills from a large number of films produced by celebrity companies, life and art photos of actors, and work photos of film creators, some precious materials have also been published, such as many photos taken by Ge Baoquan in the Soviet Union and Germany - a photo of Hu Die and a famous Soviet director Eisenstein, a photo of Du Fu Renke, a photo of Mei Lanfang and Hu Die in Berlin (Mei Lanfang moved to Berlin after her first performance in the Soviet Union); a photo of Lu Xun at her residence after her death; a photo of Huang Liushuang with cast and staff of celebrity companies when she visited China, etc.

As the editor-in-chief Ke Ling has also opened a variety of columns such as writer's opinions, half-month gossip, film industry miscellaneous views, news silhouettes, etc. The content is related to movies, but it often uses the topic to express its profound meaning, and is supplemented by photos, descriptions and comics, so that the layout is as novel and pleasing as possible. He also attaches great importance to the exchange of thoughts and feelings with readers, and sets up a column called "Reader Mailbox" to interact with him. The bimonthly magazine of "Celebrity" abandons the teaching color and seeks more communication in an inspiring and inducing manner. It has become a publicity-centric but thoughtful and entertaining film magazine with a circulation of up to 25,000 volumes, which is "the one with the most readers in Chinese film magazines."

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

The inner page of "Star" magazine published the stills of Shu Xiuwen in the movie "Eternal Smile" (1937) by director Wu Cun

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

Zheng Zhengqiu was filmed with the female star Hu Die after work while directing the movie "Sisters" (1933).

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

"Mr. Zheng Zhengqiu's memorial account" is published to mourn the death of Zheng Zhengqiu, a veteran of the star company. This issue contains a biography of Zheng Zhengqiu, a photocopy of the original script of the work, a catalog of the director's works, and an excerpt. Yan Duhe, Mao Yu, Tang Yu, Yao Sufeng, Wu Han , Wu Han , Lin Feng, Lingxi, Yang Eren, Bing Xin and others in various newspapers in Shanghai, and published eulogies from many fan members of celebrity film companies and Zheng’s friends during his lifetime. The speakers included Zhang Shichuan, Shen Xiling, Xiao Ying, Xuan Jinglin, Wang Mengshi, Wu Cun, Xu Xinyuan, Lu Ruoyan, Li Shihu, Feng Xizui, Li Pingqian, Chen Youcheng, Xu Tiansheng, Xu Lai, Yuan Manli, Wang Qianbai, Cheng Bugao, Xu Xinfu, Shu Xiuwen, Wan Qiu, Teng Shugu, Taisheng, Zheng Yingshi and others. Cai Chusheng, who was once favored and promoted by Zheng Zhengqiu, also remembered this master in the film industry in "Mr. Crying to the Crying to the Middle School of Zhengqiu... and Some Miscellaneous Feelings", and constructively proposed to analyze his works in combination with Zheng Zhengqiu's era and objective environment. On the occasion of Zheng’s first anniversary of his death, the magazine also set up a commemorative column, publishing articles of commemoration by Zhou Jianyun, Zhang Shichuan, Dong Tianya, Ying Yunwei, Fan Yanqiao and others.

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

Chen Boer

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

Hu Rongrong and sister-in-law Gong Qiuxia took a photo

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

High account non-

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

Actors Gu Meijun and Wang in the movie "Diamond Diamond" (1936) WeChat

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

Gu Meijun

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

Gu Meijun

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNewsThe 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews 9

Stills of Gu Lanjun in the movie "The Emerald Horse" (1935)

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

Comedy You Light

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

Land Ming

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

Chapter 3 Manping

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

Oriental "Xiulan Deng Boer" - Hu Rongrong

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

Hu Rongrong is not only the guarantee of the box office of Shanghai movies in the Republic of China, but also a child star who likes to publish in various magazines

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

The popularity of Hu Die is clear from the cover of "Star" magazine

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

Hu Die in "Peach Blossoms After the Disaster" (1935) and Shu Xiuwen

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

The heroine Hu Die in the movie "Eternal Smile" (1937)

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Hu Die in the special issue of "Celebrity" magazine

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNewsHi's post on her post in the magazine

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

Ruan Lingyu is one of the most box office actors in the era of Chinese silent films in China. Although Ruan Lingyu transferred from the celebrity company to the Greater China Lily Film Company in 1928 and in 1930, she committed suicide by taking sleeping pills on Women's Day in 1935. As her old boss, the magazine "Star" under her old boss, naturally spared no effort to free up a large amount of pages to report on the news of Ruan Lingyu's departure and related news

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews Tan Ying went to the film industry in 1931. After 1932, he starred in "Falling and Hate" and "Storm Pear Blossoms" at Lianhua Pictures.After 1936, starring in the star film company "Xiao Lingzi" and "Night Run" and other films

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews The male and female protagonists Zhao Dan and Bai Yang

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

The female protagonists in the movie "Flowers of Society" (1937) Bai Yang

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

The two female protagonists Zhou Xuan and Zhao Huishen

l0The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

The first issue after the revision of "Star" is naturally the "Standard Beauty" Xu Lai

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

Xu Lai's representative work "The Boatman Girl" (1935) has not been released yet, and "Star" magazine has specially launched a special issue of the movie. The cover is a picture introduction to the male and female star Xu Lai and Gao Zhanfei

The 1930s was a turning point in the development of Chinese films. At that time, the social crisis and national crisis were unprecedentedly urgent, and the film industry was facing collapse. The rise of left-wing films injected new vitality into the film industry. Taking this opp - DayDayNews

The movie "Peach and Plum Fight for Beauty" (1936). This movie is a "model beauty" Ye Qiuxin starring

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