중국 영화비평의 기준 — ＜파리의 여인＞과 1920년대 중국의 채플린 수용 = The Formation of Chinese Film Criticism in the 1920s: A Woman of Paris as a Critical Catalyst

다국어 초록 (Multilingual Abstract)

By juxtaposing writings that define the key elements of 1920s Chinese film criticism with Chinese reviews of Chaplin’s A Woman of Paris (1923), this article first examines the standards of film criticism and the roles of Chinese film critics. It then analyzes how criticism of this film contributed to the establishment of the system of film criticism as a professional, scholarly discipline. This article critically contextualizes the conventions of film criticism of the time, presenting how the subjectiveness and partiality of early criticism became both the points of focus for critique and reform; it thus serves as a counterexample that preserves the separation between critics and directors/filmmakers. Furthermore, this study delves into the essential qualifications for film critics—marked by aesthetic senses—as well as the prerequisite of film criticism, defined by the ideals of truth, goodness, and beauty. Finally, this article explores how critiques of the film both reflected and advanced the critical standards of the era, ultimately enhancing the formation of a more comprehensive evaluative framework. The analysis shows that the Chinese reception of A Woman of Paris centered on its aesthetic quality, underscoring the directing style, mise-en-scène, and psychological depth, while expanding the scope of film criticism to encompass the subject of spectatorship and reception.