Hongzhong Liu

The stylistic evolution of early Chinese cinematic scenography constitutes not merely a temporal succession of visual paradigms, but a profound trajectory of articulating local aesthetic ethos within a modern medium. Spanning from the early 20th century to the late 1940s, this paper systematically interrogates the development of Chinese film art—transitioning from the heuristic replication of Western models to the sophisticated integration of indigenous narrative topoi, and ultimately culminating in a synthesis of nationalized "Xieyi" (lyrical abstraction) and rigorous realist depiction. The research posits that while this aesthetic construction was ostensibly constrained by technological limitations and transcultural frictions, it fundamentally mirrored the resurgence of national subjectivity amidst tectonic social shifts and the deliberate pursuit of artistic agency. By elucidating the internal logic and phase-specific characteristics of this evolution, this study demonstrates how these practices laid the ontological foundation for a unique visual language system in Chinese cinema, thereby offering a revised historiographical perspective on the origins of Chinese film aesthetics.

Early Chinese Cinema; Cinematic Scenography; Mise-en-scène; Stylistic Evolution

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