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physically meet in the film for the first time after their separation caused by the war. Yuwen's narration is often regarded as highly artistic and unique by critics. Well-respected Hong Kong poet Ping-kwan Leung commented on the artistry and lyricism in the film. He argues that Yuwen's voice is more than just simple narration; it is rather a lyrical film form which is characteristic of modern literary ideology. According to Leung, the voice-over is the key to establishing the film's exceptional sense of lyricism as well as Fei Mu's personal interpretation of ruination and his poetic aesthetics. The author also notes that instead of describing what happened, the narration more focuses on the protagonist's inner emotional change and struggle.
306:) walking alone along the ruins of the city wall, narrating the slow-paced, circular nature of her life. Her husband Liyan (Shi Yu) is ill and wallows in the miserable reality of his family's loss. Due to his illness and depression, his marriage to Yuwen has long been loveless, though both remain dutiful spouses to each other. Liyan spends his days in the courtyard expressing nostalgia for a better time. Meanwhile, Liyan's young teenage sister Xiu (Zhang Hongmei), too young to remember the past, stays cheerful and playful in the ruins of their home. Lao Huang (Cui Chaoming) is an old servant of the Dai family who faithfully remains with the family.
469:. Even though the Japanese forces surrendered, China was largely in ruins, having a large effect on its people in the post-war period. The city wall in the film is an important motif, as its dilapidated state reflects not only the physical destruction of the war, but also the general post-war depression of the people; the latter is personified by the male protagonist, Dai Liyan, who suffers from a psychosomatic illness as he struggles to cope with the destruction and decline of his estate following the War. The recurring scene of the broken city wall shown in the film reminds the audience about the destruction caused by the war.
326:
he wishes out loud that Yuwen had married
Zhichen instead. As Yuwen and Zhichen struggle between overcoming or succumbing to their passion for each other, Liyan attempts suicide by taking an overdose of sleeping pills. Old Huang finds Liyan passed out on his bed, and gathers everyone else. Liyan survives, but the attempted suicide convinces Zhichen to leave and Yuwen to stay in the relationship with her husband. In the final sequence of the film, Dai Xiu and Old Huang walk Zhichen to the train station, while Yuwen is on the wall with Liyan and points into the horizon.
353:. Fei Mu at this time finished the film in only three months by not using scripts and cutting the screenplay by two-thirds. At the end of the film, Fei Mu and screenwriter Li Tianjin considered using a screenplay in which Zhichen and Yuwen joined the revolution together—a kind of finale of a classic left-wing movie since it is an easy solution. However, they ended up deciding not to use this ending. Wei Wei, to prepare for her eventual iconic role, was told to underact her emotions. The
29:
680:. The remake received accolades and recognition in the Venice Film Festival and rave reviews, although it was criticized for removing Yuwen's voice over. Li Liuyi, one of the mainland's leading theatre directors, together with actors from the Beijing People's Art Theatre and the China National Theatre, produced the world premiere of "Spring in a Small Town" on April 10, 2015. The play is adapted from the classic film in 1948 with the same names and lines.
477:(發乎情止乎禮) appears in the film; it means "you may talk about love, but don't cross beyond the limits of etiquette." Inoue and Choe state that this phrase plays a key part to " the impasse of the situation" between Yuwen, Zhichen and Liyan, and summarizes the relationship between males and females in China during that time.
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One night, Zhichen, Liyan, Yuwen, and Xiu drink and play games together. Liyan notices happiness in Yuwen that he has not seen in a while, but it is only because of her interaction with
Zhichen. In a conversation with Yuwen shortly after, Liyan expresses his shame for being an inadequate husband, and
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pushed script writer Li Tianji to write a screenplay, telling him to start with "Spring in a Small Town", which was originally titled "Bitter Love" but was eventually renamed "Lost Love". Li Tianji presented the script for "Spring in a Small Town" to the directors of Cathay (Guotai) Film
Company and
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According to Jie Li, Yuwen's voice-over accompanied by her personal subjective point of view shots connects the dreary city walls, her husband's pessimism and the ruins in the family compound. The amble cinematography in the film resonates with Du Fu's famous poem “Spring Gazing”, which was written
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Liyan and
Zhichen talk later in the day and Liyan expresses love for his wife but feels unworthy of her. Liyan suggests that things would be better if Yuwen married Zhichen, making Zhichen feel guilty. Xiu, having just turned sixteen years old, develops romantic feelings for Zhichen, who himself is
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At the time of the film's production, the
Chinese film recording process was mainly optical sound recording, while foreign countries of the same period had already adopted magnetic sound recording; this meant that the film's audio was negatively affected by the relative older recording technology.
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starts with a voice narration of the female protagonist, Yuwen. Her voice-over tells the tedious routines of her daily life. She describes the plot as it is shown to the audience, and she adds her personal feelings into her narration. Her voice-over lasts for about 18 minutes until she and
Zhichen
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Unlike modern films that use pre-recording and live playback, Fei Mu had the actors sing and record the songs live. In addition, because of the lack of technology and equipment at that time, there were no conditions for technical processing of the recording. There are two songs in the film: "That
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in the
Chinese Civil War in 1949. This criticism was connected to socialist realist cultural policy introduced by the Soviet Union in the 1930s. The environment in the film enhances the mood of a solitary obscure town and broken homes. Complemented by low music and slow rhythm. There are no other
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who previously had a relationship with Yuwen. Yuwen is conflicted between her love for
Zhichen and her loyalty to her husband. During Zhichen's first evening at the home, Yuwen rekindles their love, visiting him and sending him some bedding and a thermos to show her concern. The next day, Liyan,
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This film also explores
Confucian values through the romantic struggles between the characters Yuwen and Zhichen. According to Susan Daruvala, the film acknowledges instincts and emotions as integral parts of a love relationship, yet they must be directed by wisdom or intelligence. Despite the
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The film could be regarded as a feminist film, considering Yuwen's voice-over narration is "unapologetic and frank in her description of her relationship with her husband." Her blatant lack of guilt not only deviates from traditional norms at the time, but the film, which appears to favor her
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on a low budget with a minimalist plot and setting. The film cast only five characters, and it focuses on the struggles of a husband and wife, and the ensuing turmoil when Zhang
Zhichen, Liyan's former classmate and, ironically, Yuwen's former lover, pays an unplanned visit to the residence.
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was released a half-year later. The film did, however, make a few changes from the original screenplay including: removing an old Chinese doctor character, removing some emotional scenes between Dai Xiu and Zhichen, and adding more romantic drama between Zhichen and Yuwen.
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was instructed to be her model. The war between the Nationalists and the Communists is referenced ever so slightly in the film when Liyan scoffs at the notion that they are living in peaceful times despite the end of the Sino-Japanese conflict.
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Leung Ping-kwan, “Shuqing, xiandai yu lishi—cong Xiao cheng zhi chun dao Ruan ling yu,” in Wenxue yu biaoyanyishu: Disanjie xiandangdai wenxue yantaohui lunwenji, ed. Chen Bingliang (Hong Kong: Lingnan University Department of Chinese, 1994),
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tempting passion in the relationship between Yuwen and Zhichen, it, ultimately, does not materialize, hence highlighting its unfeasibility within the framework of Confucian values: wisdom, intelligence, and loyalty. In addition, the ideology
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predecessors of the 1930s, focused on a more intimate affair with no clear antagonists except for time/circumstance and with only tangential references to the politics of the day. Because of this apparent lack of "political" grounding,
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applied some analogies of ancient poetry to the scenes and images in the film, like the symbols of the moonlight, candle and orchid. Also, based on the Second Sino-Japanese War background and ruined walls image, the theme of
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The film uses the mono recording technique, which means the film's sound, music and dialogue are mixed in a single channel. This gives the audience the impression that all the sounds are coming from the same direction.
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made a new print in the early 1980s. Today, it is considered one of the classic masterworks in Chinese film history. In 2011, the film was listed as one of the 100 best Chinese films by the
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conflicted between his love for Yuwen and his loyalty to Liyan. As the film progresses, Liyan and Xiu begin to suspect that Zhichen and Yuwen have strong feelings for one another.
501:. The voice of Yuwen is the bridge that associates the dull, lifeless city ruins to the intimate household where the characters disclose their longing for passion and closure.
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Faraway Place" sung by Zhang Hongmei and Shi Yu, and "Lovely Little Rose" sung by Shi Yu. Sound recording credited to Miao Zhenyu and music credited to Huang Yijun.
341:. During the war, the Japanese bombed numerous Chinese cities, causing enormous casualties and damage, in which around 20 million people died. The War also left the
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The Dai family still manages to live in an uneventful peace, but this is suddenly challenged by an unexpected visit from Liyan's childhood friend Zhang Zhichen (
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Fitzgerald, Carolyn (2013). "Chapter Four Between Forgetting and the Repetitions of Memory: Fei Mu's Aesthetics of Desolation in Spring in a Small Town".
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Na Si (2004). "Wushi nian hou, zaici Xiaocheng zhi chun" JS, (Fifty years after, Spring in a small town again). In Dushu no. 12: 93-97
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Wang, Y. (2008). Remembering a Film and “Ruining” a Film History: On Tian Zhuangzhuang’s “Failure” to Remake Spring in a Small Town.
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Chow, Rey. 2016. "The Grain of Jade: Woman, Repression and Fei Mu's Spring in a Small Town." In . 1st ed., 134-140: Routledge.
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also declared the film to be one of his favourites and Fei Mu the director he most admired. In 2002, the film was remade by
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Li, Jie. "Home and Nation Amid the Rubble: Fei Mu's "Spring in a Small Town" and Jia Zhangke's "Still Life"."
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characters in addition to the five characters, which creates a "tragic and lonely " atmosphere in the film.
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While today it is recognized as a classic, upon its initial release, the film was much more controversial.
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has video lectures that break down the film. Other subtitled versions are available commercially from the
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Daruvala, Susan (January 2007). "The aesthetics and moral politics of Fei Mu's Spring in a Small Town".
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Watson, Burton The Selected Poems of Du Fu (New York: Columbia University Press, 2002) Spring Prospect
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Bettinson, Gary, James Udden, and SpringerLINK ebooks - Literature, Cultural and Media Studies. 2016.
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Modern Chinese Cultural Studies. "Spring In A Small Town". YouTube Video, 1:33:17. April 10, 2020.
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This film represents the physical and psychological trauma for people and country after the
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Remaking Gender and the Family: Perspectives on Contemporary Chinese-language Film Remakes
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Zhang, Y. (Ed.). (2012). A companion to Chinese cinema (Vol. 8). London: Wiley-Blackwell.
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The film was only able to find its audience and had a resurgence in popularity after the
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in 757 CE, which almost toppled the Tang dynasty and is often seen as the beginning of
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Beacon fires three months in succession, a letter from home worth ten thousand in gold.
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302:, and it tells the story of the once-prosperous Dai family. The film opens with Yuwen (
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Woodland, S. (2018). History repeating in spring in a small town. (pp. 103-128)
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after completing it, but they were not interested. After Wu Zuguang requested
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Jones, A. (2014, September 5). Spring in a Small Town. MCLC Resource Center.
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named it the greatest Chinese film ever made. Sixth Generation film director
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Tomasi, Dario. 2016. "Cina in Noir: Spring in a Small Town (Fei Mu, 1948)."
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did not ask for the script until more than a year had passed. Then the film
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subjectivity, is also inconsistent with other films produced at the time.
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White hairs, fewer for the scratching, soon too few to hold a hairpin up.
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834:(Columbia University Press, 2021), chapter 11: "Spring in a Small Town."
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The film takes place in a ruined family compound in a small town in the
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Woodland, Sarah (2018). "History Repeating in Spring in a Small Town".
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Fitzgerald, Carolyn (2008). "Spring in a Small Town: Gazing at Ruins".
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Beyond Imperial Aesthetics: Theories of Art and Politics in East Asia
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Susan Daruvala (2007) The aesthetics and moral politics of Fei Mu's
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Yuwen, Zhichen, and Xiu spend the day together walking and boating.
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Park, J. (2009). Versatility of fei mu's ‘Spring in a Small Town’.
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Celli, C. (2011). China’s Confucian, Misogynistic Nationalism. In
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840:张源. (2017). "小城之春的创新与诗意研究." 电影文学, 2016, Issue 22, pp. 92–94
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Top 22 Film of Chinese Cinema in Shanghai Film Critics Award
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is available with English subtitles translated by Professor
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Li, Jie (2009). "Home and Nation Amid the Rubble: Fei Mu's
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as rightist and reactionary, and was ignored following the
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Violating Time: History, Memory, and Nostalgia in Cinema
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21, no. 2 (2009): 86-125. www.jstor.org/stable/41491010.
549:), Dai Liyan's childhood friend and Yuwen's former lover
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gained more influence. The film was produced during the
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Voice Choices: Film: Close-Up: "Spring in a Small Town"
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Taipei Golden Horse Film Festival Executive Committee
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382:The nation shattered, mountains and river remain.
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1405:许仁豪.小城昨夜又春风──谈李六乙的《小城之春》.戏剧与影视评论,2015(06):41-46.
377:" ("Spring Prospect") was invoked in this film:
1417:吴荣彬.(2011). 从新旧《小城之春》看中国电影录音技术之变.电影文学，2011年第三期。
1250:Cinema and Urban Culture in Shanghai, 1922–1943
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980:https://u.osu.edu/mclc/online-series/spring/
962:Berkeley Art Museum and Pacific Film Archive
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384:City in spring, grass, and trees burgeoning.
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1361:"Springtime in a Small Town (2002) - IMDb"
1350:(pp. 11-21). Palgrave Macmillan, New York.
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1068:李天济.(1992).“为了饭碗干电影”.电影艺术,1992(04): 80-85
388:Hating separation, birds alarm the heart.
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1127:Inoue, Mayumo; Choe, Steve (2019).
1348:National identity in global cinema
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1248:Zhang Yingjin, "Introduction" in
1019:and Jia Zhangke's "Still Life"".
615:Hong Kong Film Awards Association
560:), Dai and Yuwen's loyal servant;
832:Chinese Film Classics, 1922-1949
806:. New York: Palgrave Macmillan.
284:the best Chinese film ever made
270:of the film is now kept in the
1321:"Five Questions for Wang Chao"
1264:Remaking Gender and the Family
1196:Remaking Gender and the Family
1131:. Hong Kong University Press.
1077:新京报(2004) 站在废墟上眺望远方 08.13.2004
1047:"The Second Sino-Japanese War"
826:10.17949/jneac.1.18.200903.004
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1681:Chinese black-and-white films
1676:1940s Mandarin-language films
1543:(1948) with English subtitles
1518:at the Chinese Movie Database
804:The Poetics of Chinese Cinema
1666:Chinese romantic drama films
1104:10.1007/978-1-349-92280-2_27
960:. University of California,
724:Shanghai Film Critics Awards
571:), Dai Liyan's young sister.
440:’s director, Cao Yu agreed.
666:In 2002, a remake film for
407:The poem was written after
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999:. Encyclopedia Britannica.
993:"Second Sino-Japanese War"
915:Journal of Chinese Cinemas
673:Springtime in a Small Town
628:Springtime in a Small Town
1661:1948 romantic drama films
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1272:10.1163/9789004363304_006
1096:Chinese Films in Focus II
958:"BAM/PFA - Film Programs"
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812:10.1057/978-1-137-55309-6
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1534:Restored and HD Version
1476:chinesefilmclassics.org
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1164:. Brill. p. 108.
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860:Fragmenting Modernisms
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709:Award / Film Festival
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781:10.1386/jcc.1.3.171_1
741:Hong Kong Film Awards
475:fa hu qing, zhi hu li
276:Hong Kong Film Awards
1266:. pp. 103–128.
1098:. pp. 205–211.
1049:. 18 September 2019.
862:. pp. 169–216.
593:was rejected by the
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1671:2000s Chinese films
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499:An Lushan Rebellion
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409:An Lushan Rebellion
256:Wenhua Film Company
149:Wenhua Film Company
1579:Films directed by
830:Rea, Christopher.
704:List of Accolades
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607:China Film Archive
274:. In 2005, at the
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65:Xiǎochéng zhī chūn
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1593:Night in the City
1217:978-90-04-36330-4
1171:978-90-04-36329-8
1143:Project MUSE
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1113:978-1-84457-237-3
877:978-90-04-25099-4
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1449:. Retrieved
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1368:. Retrieved
1365:www.imdb.com
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1331:. Retrieved
1329:. 2006-06-30
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635:Translations
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524:Yu Shi (石羽)
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230:Chinese film
221:
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194:Running time
171:Release date
164:Cinema Epoch
159:
61:Hanyu Pinyin
497:during the
359:Mei Lanfang
135:Huang Yijun
125:Wei Chunbao
117:Li Shengwei
78:Directed by
1656:1948 films
1650:Categories
1545:on YouTube
1536:on YouTube
1451:2021-06-09
1370:2021-06-13
1333:2008-08-02
1296:"重读《小城之春》"
1180:1028851976
997:Britannica
845:References
684:Soundtrack
519:Zhōu Yùwén
515:Zhou Yuwen
425:Wu Zuguang
330:Background
282:was voted
225:is a 1948
141:Production
88:Written by
1617:Confucius
1226:149927998
935:144808017
790:Cineforum
712:Category
697:Accolades
619:Wang Chao
576:Reception
558:lǎo Huáng
554:Lao Huang
533:Dài Lǐyán
529:Dai Liyan
423:In 1947,
373:'s poem "
247:Lǐ Tiānjì
122:Edited by
92:Li Tianji
1509:AllMovie
1033:41491010
513:(韋偉) as
485:Lyricism
461:between
419:Creation
400:Chunwang
396:—
375:Chunwang
315:Shanghai
296:Jiangnan
214:Mandarin
211:Language
132:Music by
98:Starring
718:Result
670:called
652:website
648:YouTube
586:leftist
569:Dài Xiù
565:Dai Xiu
511:Wei Wei
304:Wei Wei
234:Chinese
203:Country
198:93 min.
180: (
143:company
127:Xu Ming
102:Wei Wei
41:Chinese
1636:(1948)
1628:(1948)
1620:(1940)
1612:(1936)
1604:(1935)
1596:(1933)
1581:Fei Mu
1396:, 104.
1278:
1239:72–95.
1224:
1214:
1178:
1168:
1145:
1135:
1110:
1031:
933:
874:
662:Remake
539:Li Wei
453:Themes
442:Fei Mu
438:Wenhua
434:Cao Yu
357:actor
311:Li Wei
252:Fei Mu
244::
242:pinyin
236::
108:Li Wei
105:Shi Yu
82:Fei Mu
1222:S2CID
1200:(PDF)
1029:JSTOR
931:S2CID
743:2005
726:2005
545:(章志忱
531:(戴禮言
517:(周玉紋
467:Japan
463:China
371:Du Fu
206:China
1487:IMDb
1445:IMDb
1276:ISBN
1212:ISBN
1176:OCLC
1166:ISBN
1133:ISBN
1108:ISBN
872:ISBN
752:Won
735:Won
567:(戴秀
556:(老黃
505:Cast
465:and
290:Plot
266:The
182:1948
178:1948
48:小城之春
1507:at
1496:at
1485:at
1268:doi
1204:doi
1100:doi
923:doi
864:doi
822:doi
808:doi
777:doi
646:on
625:as
541:as
527:as
459:war
238:李天濟
1652::
1442:.
1422:^
1410:^
1363:.
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1082:^
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240:;
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866::
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398:"
184:)
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