The process of modern cultural formation in Shanghai at the beginning of the 20th century show not only passive accumulation of historical culture made by the Opium War in the 1840s but the varieties through collision and union with western culture. Therefore, Shanghai in semicolonialism was directly experienced in cultural contact by the Western Powers, and traditional Chinese culture had to accept aggressive and open foreign culture whether the admission was independent or not. As a result, China regarded Shanghai as a advance base of cultural union between the East and the West which had globalization and varieties, and as a city that cultural identity of the citizens in Shanghai was more changable and disordered than in any other city in China.The films of the 1930s and 40s provide a good chance that made us experience cultural phases at that time directly. Especially, we can steal a glance a slice of cultural development of Shanghai because they include the figures of various cultural identities. Shanghai in the 1930s and 40s had a lot of opposition and contradiction, and important expressions of the films of Shanghai at that time played an important role in making social figures like conflicts between the old and the new, wealth and poverty, justice and evil, patriotism and unpatriotism, lavishness and entertainment, and so on. When the video culture in the 1930s and 40s is regarded as a representative media to make culture, films is regarded as a important contact cord which is able to make us experience aesthetic experiences of the society or realistic situations of human existence. Therefore, it is very important that a cultural phase of Shanghai is illuminated again by the films of Shanghai in the 1930s and 40s because realistic cultural circumstances can be confirmed directly.
Ⅱ. 상하이 문화의 정체성 양상
Ⅲ. 상하이 영화를 통해 본 상하이인의 문화적 정체성