SSRScientific and Social Research2661-43322981-9946Bio-Byword Scientific Publishing Pty. Ltd.10.26689/ssr.v6i2.6190ArticleThe Influence of Soviet Films on Chinese Films in the 17-Year Period: An Analysis of the Film Zhang Ga the Soldier Boyhttps://artdesignp.com/journal/SSR/6/2/10.26689/ssr.v6i2.6190KongXinyu2024622024-03-12This paper presents a case study of the film Zhang Ga the Soldier Boy, focusing on how films released duringthe 17-year period are influenced by the theory of Soviet montage. A comparative analysis was carried out on four elements of the movie: Close-up shots, low/high-angle shots, shots of the Masses, and three montages of Pudovkin (metaphorical montage, contrast montage, and repeating montage). By comparing the similar social backgrounds and film techniques between Chinese and Soviet films, this paper aims to provide references for future film studies, especially the relationship between montage and politics.

Eisenstein S, Gerould D, 1974, Montage of Attractions: For “Enough Stupidity in Every Wiseman.” The Drama Review: TDR, 18(1): 77–85.

Chen H, 1956, On the “Blossoming of a Hundred Flowers” in Film Art. Film Art, 1956(S1): 5–10.

Hong H, 2010, Stylistic Differences between Soviet Cinema and “Seventeen Years” Cinema. Russian Literature and Art, 2010(4): 87–93.

Hong H, 1949–1966 Chinese Film Studies - On the “Seventeen Years” of Chinese-Soviet Film Relations - The Influence of “Zhdanovism” and “Thaw” Ideas on Chinese Cinema[J]. Cinema Art, 2006(3): 34-42.

Braudy L, Cohen M, (eds) 2004, Film Theory and Criticism (6th Edition). NY: Oxford University Press, 23 + 41.

Cui W, (Director) 1963, Zhang Ga the Soldier Boy [Film]m Beijing Film Studio.

Eisenstein S, Leyda J, 1949, Film Form: Essays in Film Theory, Harcourt, Brace.

Hu K, 2005, Zhang Junxiang’s Concept of Film. Contemporary Film, 2005(4): 12–17.

Jia B, 2016, The Early Spread of Soviet Montage Theory in China and Its Influence. Literary Controversy, 2016(4): 127–134.