The Dialogue Strategy Between Left-wing Filmmakers and Film Audience in the 1930s — Focusing on the Construction of Audience by Film Critics of “Morning Paper·Daily Film”

Abstract

In the 1930s, films became a tool for left-wing film critics to compete for the discourse power of films. This competition was not only directly reflected in the criticism of the film content, but also in the views of the audience. By specifying what viewing qualities the audience should have, left-wing film critics intervened in the construction of the film audience group image. Through the stipulations of ideal audience groups, the territory of left-wing films was delimited. At that time, some film review articles believed that the audience was ignorant and good films were needed to inspire people's wisdom, and some believed that the audience was sober-minded and the film shouldn't abandon the audience. This article attempts to start with articles involving the audience in the supplement "Daily Film" of "Morning Paper" and analyzes that behind this seemingly contradictory attitude, how film critics compete for the discourse power of films through the construction of the ideal audience group image and then get involved in the competition for the political discourse power.