Love and duty (1931): Chinese melodrama and the “contradictions of modernity”

In 1930s Shanghai Love and Duty (Bu Wancang, Lianhua Co., 1931) resonated with Chinese viewers, launching the career of actress Ruan Lingyu. Today, in contemporary film venue screenings, this epic continues to move international viewers. Here I ask how this silent picture has effected its profound affective alignments as it crosses cultures and periods of time. Approaching Love and Duty as moving picture melodrama engages the critical tradition of film melodrama theory such as to see formal convention melded with the affective charge of Chinese society in tumultuous transition. Melodrama, with its revolutionary associations, meets the historical conditions of Chinese society undergoing massive upheaval at the time of the film's release, coincident with the New Culture Movement in the years following the 1911 Republican Revolution. The politics informing the Neo-Marxist European tradition of mass culture analysis meets the leftist political legacy associated with Shanghai's emergent film industry.