Even though they represent only a small part of the production of this period, no film by the company Tianyi, ancestor of Shaw Brothers, is not yet available, as the films are missing martial arts performed in Shanghai in the 1920s, their accessibility changes the widely held view of the history of Chinese cinema until then through official history, giving a different image than that leftist movies. From https://real-123movies.com you can now find the perfect options.
The Great Values
Since the publication of this collection, most of these same films, and others, for example, Mulan joined the army (Mu lan cong jun, Bu Wancang 1939), was published in DVD with sometimes English subtitles, further promoting their distribution international, these DVDs can be purchased on order via the Internet.
- Like the collection edited by Beauty Culture Communication, the restoration of Shaw Brothers films allowed access to some important of Hong Kong cinema. Launched in the early 2000s, this restoration was the most ambitious project ever undertaken in China in terms of conservation and enhancement of cinematographic heritage. The Shaw Brothers, legendary studio that dominated the cinema Hong Kong from the 1960s or 1970s but which has its origins in the Shanghai cinema of the 1920s, produced during these two decades several hundred films, in all genres: martial arts well sure, but also cinematographic adaptations of huangmeixi operas, historical dramas, romantic or musical comedies, horror films, films The term “leftist films” (zuoyi dianying), quite vague and which did not exist during the 1930s, was invented after 1950 to designate the films from this period that carried progressive ideas and were made, produced or interpreted by people close to the ideas of the Communist Party of the time, in contrast to other films whose themes were more in line of cultural policy advocated by Guomingdang, such as Piety subsidiary (Tian lun, Fei Mu 1935). Many Chinese film historians, like Cheng Jinghua and Zhong Dafeng already mentioned above, have given a place disproportionate to these “leftist films” in their works and neglected by others equally important films but less corresponding to the communist ideology.
The restoration concerned all the films produced by the Shaw Brothers during this period, which was colossal work. The distribution of these films on DVD allowed a large audience to discover an important part of Hong Kong cinema preceding the 1980s.
Cinematographic adaptations of popular legends and classics
Chinese literature in the form of huangmeixi operas, as the Legend of the White Snake (Baishe zhuan, Yue Feng 1962), Liang Shanbo and Zhu Yingtai (Liang Shanbo yu Zhu Yingtai, Li Hanxiang 1963) or The Dream in the Red Pavilion (Honglou meng, Li Hanxiang 1978) notably revealed the attachment Hong Kong cinema and audiences to Chinese cultural heritage.
These two important collections, as well as other more punctual, have favored access to films that have so far been little available, to which are added films already published before such as those from mainland China from the 1950s to 1970s. It is, therefore, possible today to access in VCD and DVD to a significant part of ancient Chinese films. However, gray areas persist. The Beijing Film Archives, for example, has other films from the 1930s and 1940s in their storage, but do not currently wish to offer them to the public. Some of these gray areas are however reduced by the Internet and in particular by Chinese YouTube which offers many Chinese movie streaming.
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