389:, the negative example is Yang Nei Fang, and in order to teach the audience, Nei Fang has to go through pain and death for her affair. However, Yuan's article says that even though Ta Jen also betrays the marriage, he, as a male character, can repent and become a brilliant example of father and partner in marriage. The article continues to state that the film is criticizing the concept of how romantic relationship can be decided without the presence of their parents by expressing that the love between Nei Fang and Tsu Yi is based on duty-forgetting needs and condemning Tsu Yi to death, for example. Furthermore, Yuan's article indicates that the characters' names have their own meanings, and the phrase that has the same pronunciation in Mandarin as Li Tsu Yi means turning back on the lessons of the ancestors, pointing at his affair with Nei Fang, for instance.
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at the entrance of his home whom he had previously missed because of different schedules. He falls in love at first sight with Nei Fang and starts to pursue her intensely, following her around. Nei Fang ignores him until he uses a piece of his shirt to bandage her wounded leg after she is hit by a car. After this, she finally falls in love with him. An image matching of a piece of Tsu Yi's shirt in Nei Fang's hand and Nei Fang's handkerchief, which he obtained by accident, in Tsu Yi's hand shows that they has exchanged objects that represent love. Soon after this, though, Nei Fang's father arranges a marriage for his daughter with a young man of good background, Huang Ta Jen. Though Nei Fang is reluctant, she submits to her father's authority. Years of dull married life and two children follow.
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murdered by financing and other people's words instead of letting them have a happy life together. Finally, the same author composes that from the plot of the film, the audience can understand what the third word in the film's name means. Kerlan mentioned that "the film, a silent production, is indeed an interesting blend of a
Hollywood type’s silent feature and Chinese ethical and cultural values." Kristine published in a later paper that the United Photoplay Service (Lianhua yingpian gongsi) strategically “staged,” even allegorized, Shanghai to signal its cosmopolitan ambitions while simultaneously alluding to Chinese filmmakers’ quest for a kind of “cinematic sovereignty” during the early Nanjing decade.
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While Nei Fang and Tsu Yi are happy for a while, it becomes difficult for him to find a job, due to rumors about their relationship. Tsu Yi then dies when overwork in a badly paid job exacerbates a longstanding undisclosed illness and Nei Fang takes care of their daughter, Ping Erh, alone, after her
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Professor Yuan
Qingfeng points out that the films that were produced between the years of 1905 and 1932 in China are considered to be old generation films. Then, Yuan also writes in his article that the focus points of these old films are on the traditional concepts about the relationship between a
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When Nei Fang becomes old, she meets her first two children, without revealing her identity as she is ashamed. In the end, Nei Fang decides to commit suicide to put Ping Erh in the hands of Ta Jen and liberate Ping Erh from Nei Fang's shame. Ta Jen is moved by Nei Fang's act and agrees to take care
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The plot starts in a town, Kiangwan, in
Shanghai, inhabited by wealthy families, including those of the protagonists, Yang Nei Fang (played by Ruan Lingyu) and Li Tsu Yi (played by Jin Yan). Tsu Yi wakes up and prepares to go to school. As he slept in for half an hour, he meets the girl of his life
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Time passes and Nei Fang and Tsu Yi meet again by accident. Each time that they meet subsequently, their relationship becomes increasingly intimate. Ta Jen is also close to another woman without Nei Fang knowing. Finally, Nei Fang leaves to live with Tsu Yi who refuses to allow her to bring her
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was made at the last days of the old films, so it followed suit. In addition, the scholar says that there is usually an immoral person in the romantic relationship in the film, and because of the lowly status of women in China at the time, female protagonists are usually chosen. As said in the
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Another scholar, Wang Dake, states that the scene of Nei Fang's father arranging marriage for Nei Fang is an expression of the superior authority of father in the thinking of old society. Moreover, Wang Dake says in his article that the film is authentic in arranging Tsu Yi and Nei Fang to be
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286:. Long considered lost, it was accidentally rediscovered in Uruguay in the 1990s, and was almost immediately hailed as one of the greatest Chinese silent films. Like many such films, it features both Chinese and English
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328:(Lianhua yingpian gongsi) in 1930, the film was finally made, which was also due to the film industry's growth. This development made the production of new types of films, like
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Interestingly, Ruan Lingyu portrays two different characters in the film: the mother, Yang Nei Fang, and Huang Koon Ying, Nei Fang's daughter. For shared scenes,
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children. After her desertion, Ta Jen takes care of their children and severs his bond with the other woman.
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of Ping Erh. The film ends with the act of filial piety from the three children to the memory of Nei Fang.
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The film was very popular in its day, in no small part due to the pairing of Ruan Lingyu, a darling of the
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has been remade twice, in 1938 and 1955. The first was from the wartime
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in the 1990s. The rediscovered print was shipped over to Taiwan in 1993 and is now housed at the
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Yuan, Qingfeng (April 2014). "中国早期电影的道德图解与新电影的生长点 ———以联华影业公司 1931年出品的无声片 《恋爱与义务》为例".
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Harris, Kristine (2023). "Staging
Shanghai in Love and Duty 戀愛與義務 (1923, 1931)".
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Harris, Kristine (2013). "Ombres
Chinoises: Split Screens and Parallel Lives in
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became one of the first films produced by the leftist United
Photoplay Service.
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Kerlan, Anne (November 2023). "A Chinese production with
Hollywood taste".
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666:"SEATTLE INTERNATIONAL FILM FESTIVAL ANNOUNCES 2017 CHINA STARS SHOWCASE"
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545:. Institute of Chinese Studies, University of Heidelberg. Archived from
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Love and Duty 戀愛與義務 (1931) with
English subtitles UNRESTORED 未修復版
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Wang, Dake (June 2016). "从新修复的《恋爱与义务》重探 1930 年代 早期电影的多义性".
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Journal of
Zhejiang University of Media and Communications
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husband and her family reject her requests to return.
481:Modern Chinese Cultural Studies (7 November 2021).
452:. Both remakes were Mandarin dialect sound films.
297:technology is used to make both characters appear.
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509:". In Rojas, Carlos; Chow, Eileen (eds.).
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730:A Chinese production with Hollywood taste
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380:couple or the lives of family members.
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332:, possible. In the end,
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173:United Photoplay Service
43:Traditional Chinese
515:Oxford University Press
59:Simplified Chinese
652:10.1515/jcfs-2023-0036
543:"Film "Love and Duty""
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896:Chinese silent films
832:Mulan Joins the Army
494:– via YouTube.
450:Shaw Brothers Studio
427:L'Immagine Ritrovata
261:(1931) by Bu Wancang
891:Chinese drama films
549:on 4 September 2007
446:Xinhua Film Company
916:Silent drama films
808:Three Modern Women
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209:Running time
186:Release date
124:by S. Horose
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79:Hanyu Pinyin
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608:(2): 53–60.
397:Rediscovery
322:Lo Ming Yau
288:intertitles
280:Ruan Lingyu
272:silent film
240:intertitles
230:Silent film
213:151 minutes
146:(Lily Yuen)
144:Ruan Lingyu
133:Lo Ming Yau
129:Produced by
96:Directed by
871:1931 films
865:Categories
772:Bu Wancang
468:References
314:expatriate
276:Bu Wancang
165:Production
111:Zhu Shilin
107:Written by
100:Bu Wancang
824:Diao Chan
226:Languages
167:companies
16:1931 film
840:Eternity
625:01164763
456:See also
375:Analysis
341:Shanghai
140:Starring
118:Based on
720:YouTube
675:12 June
553:9 April
437:Remakes
407:Uruguay
309:, by a
284:Jin Yan
238:English
218:Country
195: (
149:Jin Yan
851:(1944)
843:(1943)
835:(1939)
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819:(1933)
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697:(1934)
621:HALSHS
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490:7 June
311:Polish
320:, to
221:China
66:恋爱与义务
50:戀愛與義務
709:IMDb
677:2024
555:2007
519:ISBN
492:2024
403:lost
354:Plot
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