What is the final outcome of the shape of the sound?

What is the final outcome of the sound form?

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Late summer frost

Talk about becoming a fan of 6 12.

In the ending of the movie "Sound and Shape", Nishinomiya tried to commit suicide by jumping off a building, but was stopped by the general. In order to prevent Nishimiya from falling by himself, fortunately, he was not seriously injured and was discharged a few days later.

He and Nishimiya came to the high school's Academy Festival, and they played together. At first, they still didn't dare to look at other people's faces, and there was a shadow in their hearts. In the maid's coffee shop, everyone recognized the general at a glance, but they closed the door and went to the bathroom to reflect on themselves.

At this moment, his best friend Yong Shu came to Jiang Ye to encourage him to cheer up, and Jiang Ye finally got out of himself under everyone's persuasion.

At the coming-of-age ceremony, Jiang and Nishimura were nervous before entering the primary school reunion room, but they finally left hand in hand.

Extended data

Brief introduction of phonetic characters

Ishida Shouya 1

When I was a child, king of the children took the lead in bullying petty bourgeoisie. But since the nitrate incident was known by the principal, it began to be isolated by the people around it. I have been living in loneliness and self-loathing.

2. Nishinomiya nitrate

A girl with congenital hearing impairment. Encounter communication obstacles and various failures in daily life. In order to avoid conflict with others, I often smile to please others.

3, Nishinomiya knot string

Xiaozi's sister, in order to protect her favorite sister, is always extremely strong externally. Because of this, I acted like a tomboy. Self-address is also a male "I".

2019-11-08 is recommended.

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On the relationship between literature and film and television by combining novels and films.

A thousand words is a bit too demanding! But I will try my best to write, and you should try to add some adoption rewards. In terms of time relationship, although literature and film and television belong to one of the art forms, film and television naturally follow the ass of literature in many aspects after it appears in literature. In recent years, IP drama has appeared, that is, using the existing literary resources as the basis for the development of film and television. But in the 2 1 century, the functional relationship between literature and film and television is actually more complementary, and no one can do without anyone. The main reasons are as follows: First, most literary works that can be adapted into film and television works are novels, and the expression styles of novel authors are mostly different. Readers who accept this novel style may not accept that novel style, so the novel has certain limitations in the audience. When adapted into film and television works, many original sharp problems can be reprocessed into relatively soft forms and become acceptable forms for most people. When an IP TV series is accepted by the public, the original novel as a blueprint will naturally be accepted by the audience. Secondly, 2 1 century is a very busy era, and many people tend to have fragmented leisure time. However, the style of the novel determines that readers must have a relatively complete time to calm down and read, so as to understand what the author wants to express. This conflicts with reality, but TV plays are not. Because they soften and simplify many things, viewers can even watch a TV series alone in fragmented time. It can be said that it is a good way for novels to adapt to a busy society. Third, TV plays are more entertaining and expressive than novels. It can be said that the world displayed in the novel is two-dimensional, and readers need to use their own thinking to supplement its vacancy and reorganize it into a three-dimensional story. Tv plays just help readers do this. Through a more yuan and intuitive form than words, the audience will be more inclined to accept this more convenient and easier form. Fourth, the audience is more accessible to TV dramas objectively, and our media is more inclined to pay attention to the dynamics of film and television than the novels behind it. In this era when literature as a whole is marginalized, the organic connection between film and literature can be said to save literature to a certain extent, and also give literature a chance to enter public life in a more convenient and intuitive form, while film and television without literature will face the danger of creative exhaustion to a great extent. Literature is constantly providing a large number of high-quality raw materials for film and television, and film and television will further develop with literature as raw materials. The two complement each other and are creating new glory belonging to 2 1 century. Finally finished, there are seven or eight hundred without one thousand, please adopt!

13 likes 752 browsing 20 17-06- 12

The difference between literary works and film and television works

1. Literary works with different meanings: from the perspective of copyright, it usually refers to original works in various languages. No matter what its value or purpose, whether it is pure literature, science, technology or completely practical, it is a literary work. A work of great value measured by the aesthetic feeling and emotional effect of the form and content of the work. A film and television work is a complete artistic work recorded on film by a camera and projected by a player. Film and television works are also works of art, a combination of photography and sound, and a combination of visual and auditory arts. 2. The authors of distinctive literary works use various artistic means to cast a large number of perceptual materials obtained from life into vivid artistic images; Always inseparable from imagination (fantasy, association) and emptiness; It is always accompanied by strong emotional activities. Film and television works are the integration of time and space, audio-visual integration, and the integration of reality and virtuality. The trend of the integration of film and TV is becoming more and more obvious, and people are watching movies more and more through TV sets and monitors. Extended data:

Literature and history are the closest and most intimate. Since ancient times, there has been a saying in China that "literature and history are one family", which shows that there is already blood relationship. The infiltration of literature and history has produced a series of marginal literary works, such as historical novels, historical dramas, epics, historical stories and historical essays (including memoirs and biographies). Whether these marginal literary works belong to history or literature, the criteria are: loyalty to historical facts or fiction, whether historical records belong to history, and whether artistic fiction belongs to literature. Although literary works are a reflection of objective things, the theme works adopt a "scientific grasp of the world", the materials are accurate, the time, place, people, causes, process and results of the event must be true, the shape, size, nature, characteristics, uses and examples of things must be accurate, the cited figures, charts and examples must be reliable, and everything must be objective and authentic.

1 likes 4,920 browsing 20 19-07-08

Similarities between literature and movies

The relationship between film and literature Literature is the foundation of all film and television works. The profound connotation and rich forms of expression of literary works provide reference for the expression of focal plane language. In the history of Chinese and foreign movies, movies adapted from literary masterpieces have almost become the representative works of movies. The relationship between literature and film is dialectical and unified, with both similarities and differences. Movies come from literature, and literature makes movies. Literature is closely related to movies, and literature expresses the beauty of words and static beauty. The film is a combination of sensory experience and dynamic beauty. As a comprehensive art, film has a close relationship with literature in absorbing various artistic nutrients and enriching its comprehensive characteristics. The infiltration of various literary styles into films, as well as the reference of films to literary narrative techniques, lyrical techniques and rich artistic methods of characterization, have made film art play a role in enhancing its own expressive ability and forming new comprehensive artistic characteristics. (A) the marriage of film and literature, literature is the basis of film, is the source of excellent film creation. Film has become the seventh art after literature, music, art, dance, architecture and sculpture. Literature has played an important role in the development of movies. A large number of film and television works are adapted from literary works. In the process of filming, the film director first came into contact with the literary script, which was created by the screenwriter in literary language. On the one hand, movies are space art and literature is time art; On the one hand, literary metaphors need modifiers, but the accuracy and concreteness of film records cancel adjectives; On the other hand, film language reaches the audience through perception and intuition, while literature is conveyed in a general tone. (2) Film is a continuation of literature. Film is based on science and technology and is born out of drama. The fusion of music and art meets the intuitive and relaxed aesthetic needs of modern people and has been favored by people for a long time since its birth. (3) Film language can convey information through multimedia, while literary language can only be expressed through words. Movies spread information through various media, and the film language is completely different from the literary language. On the premise of not destroying the authenticity, the film language fully mobilizes time and space with the help of montage lens. Compared with literary language, film language is more intuitive. Statements in literary works that can infect readers may be difficult to express if they are put on the screen. However, literary language does not have the intuition and sensibility of film language. (4) Compared with the intuition of film and television, original literature has unique connotation and charm. Although movies can convey information intuitively through multimedia, they cannot express the unique connotation and charm of the original. (5) Movies step on the shoulders of literature. As the most important art form in the 20th century, there has always been a close marriage relationship between youth films and ancient literature. This relationship is more manifested in the early stage of film development and for a long time after that, the film draws lessons from literature. This kind of reference usually appears in two aspects: on the one hand, a set of methods to reflect and express life in literature, such as narrative techniques, structural styles, expressive techniques and lyric poems, and the artistic conception of prose provides rich nutrition for film creation; on the other hand, many works in the history of world movies are adapted from literary works, including both classic works and contemporary best-selling works, and the main body of adaptation is mostly narrative novels and dramas. (6) After the film sensation, it will promote the development of the literary industry. After the film stepped on the shoulders of literature and became an important artistic style, it also promoted the development of the literary industry. In short, the emergence and development of an art is not isolated, and it is impossible to break away from the infiltration and support of other arts. In a word, the original literature and film and television art have their own advantages, and their ingenious combination can be called the ingenious combination of "audio-visual art" and "language art", which constitutes a win-win situation for literature and film and television.

7 like 847 browsing 20 16-04-07

What are the differences and connections between drama, film and television and literature?

Drama is a literary style in which characters are arranged on the stage to express their thoughts and personalities through their language actions to reflect social life. Film and television are the objects of image art, including movies, TV and TV movies. Literature is an art that vividly reflects the objective reality and expresses the writer's spiritual world by using language and characters, including poems, essays, novels, plays, fables and fairy tales. It is an important embodiment of culture. Film, drama and literature are inseparable and have their own subtle relationships. They are interrelated and influence each other, and cannot exist independently of each other. The relationship between the three also promotes each other in integration and communication. Looking at the development history of visual culture, it is not difficult to foresee that under the mainstream background of integration, literature will undoubtedly have a broader space for survival and development under the stimulation of movies, movies will certainly make great progress on the basis of their own perfection, and drama will also be derived from the interaction between movies and literature ~

6 Zan 5 17 browse 20 16-0 1-03.

On China's Modern Film Literature, Film and Television and Historical Background

Background After Jiaqing in Qing Dynasty, the feudal society in China was on the eve of collapse. All kinds of domestic contradictions are unprecedentedly acute, and social crises are everywhere. The Qing government was extremely stupid and decadent. 184? Since then, the cannon of foreign capitalism has opened the door to the closed-door feudal empire, and opened the prelude to China's modern history. China society has gradually undergone fundamental changes. The self-sufficient natural economy in rural areas quickly disintegrated, and the capitalist economy appeared in coastal areas, rapidly forming a deformed and prosperous modern city like Shanghai. New classes-China's proletariat, bourgeoisie and even comprador bourgeoisie-have also emerged. "The imperialist powers invaded China, which on the one hand led to the disintegration of the feudal society in China and the capitalist factors in China, turning a feudal society into a semi-feudal society; On the other hand, they brutally ruled China and turned an independent China into a semi-colonial and colonial China. " (Note: "China Revolution and China * * * Production Party", Selected Works of Mao Zedong, Volume 2, p. 593. ) Since then, the contradiction between imperialism and the Chinese nation, feudalism and the masses of the people has become the main contradiction in the historical development of modern China. In order to save the nation from peril, from the Taiping Heavenly Kingdom to the Revolution of 1911, the people of China waged revolutionary struggles again and again. At the same time, "the advanced people of China have gone through hardships to seek truth from western countries" (Note: On People's Democratic Dictatorship, Selected Works of Mao Zedong, Volume 4, p. 1406. ), so that the spread of various ideological trends in China since the Western Renaissance has injected new content into modern China culture. As an important part of social ideology and the whole culture, literature will inevitably reflect and adapt to these changes in modern China. During the gestation and development of modern literature, many new phenomena have appeared. In this historical period, although feudal literature still existed in large numbers, it also produced progressive literature with the main content of resisting foreign powers' aggression and demanding to get rid of feudal shackles, and made various efforts to reform feudal old literature more than once for a long period of time. As early as the Opium War, more enlightened landlord class intellectuals such as Gong Zizhen, Lin Zexu and Wei Yuan revealed the pain of the times and social feelings in their poems. At the same time, it also calls for the "wind and thunder" of reform, showing the urgent requirement of resisting foreign aggression. During the revolutionary movement of the Taiping Heavenly Kingdom, it was put forward that "words are documentary", "classical Chinese words are redundant" and "half words are illusory" (Note: See Hong Rengan's "Clever Words Free from Floating" and "Selected Works of the Taiping Heavenly Kingdom" on page 98. ) of the reform thought, also produced some more popular and revolutionary works. With the development of political reform and reform movement, at the end of19th century, the bourgeois reformist cultural movement became increasingly high. Zheng put forward the suggestion of cultural innovation in "Dangerous Words in Prosperous Times", and Wang Tao put forward the suggestion of cultural innovation in "Reform and Self-improvement". Kang Youwei tried to change the system in the name of Confucius, which impacted the feudal orthodox culture at that time to some extent. And more than 50 societies, schools and newspapers, such as Qiangshe, Nanshe and Tuanshe (note: See Appendix 1 "The Origin of Reform" of Liang Qichao's "The Coup of 1898". Actually, that's not all. The rise and activities in the short term are directly related to this movement. In literature, there has been a call for reforming feudal orthodox literature (mainly parody of poetry and Tongcheng literature). Among them, Tan Sitong and Xia Cengyou's "Poetry Revolution" and Liang Qichao's "New Style" have great influence. It is Huang Zunxian who has made great achievements in the reform of poetry. As an excellent "new school" poet, Huang Zunxian not only described the major historical events that happened at that time in his works, but also showed strong patriotism and reform desire. Moreover, in literary theory, there was a long time ago a saying that "vernacular Chinese was worshipped and classical Chinese was abandoned", which changed the old style and made it "appropriate and popular". "If you want to make all the women in the world naive, you can use words" (note:) ideal; His own poetry creation, as the poem "Miscellaneous Feelings" said, "I wrote my mouth by hand. How can I restrain myself?" He began to get rid of some shackles of the old poetry meter. Liang Qichao's new style prose, which advocates reformism, is known as "easy-going" and has a wider influence. At the same time, the emergence of vernacular tabloids has prompted some people (such as Qiu and Chen Rongqi) to clearly put forward that "the vernacular is the foundation of reform" and "enlightening the people is never like the words of reform" (Note: Qiu and Chen Rongqi respectively wrote "On the vernacular is the foundation of reform" (1898). ) and other claims. In addition to poetry and prose, the reformist literary movement has also caused particularly significant changes in literary style. Novels and dramas have always been regarded as unpretentious by orthodox feudal literati, but they have always been valued before and after the Reform Movement of 1898. First, because of the needs of the political reform movement, and second, because of the development of printing industry, the prosperity of modern emerging cities and the establishment of newspapers and periodicals, a large number of novels were produced during this period, and their social status was constantly improved. He has successively published On the Relationship between Novel and Group Governance (Liang Qichao), The Principle of Novel (Xia Cengyou), The Position of Novel in Literature (Zhai), On the Relationship between Novel and Improved Society (Wang Wusheng), On the Power and Influence of Novel (Tao Youzeng) and Yu's View on Novel (Xu Nianci). Under the advocacy of Liang Qichao's theory that "if you want a new national character, you must first create a new national novel", novels have become a powerful tool for new intellectuals to expose the old world and publicize new ideas, and a number of professional writers have emerged directly. Political novels, social novels and science novels came into being. Lu Xun called it "condemnation novel", "official appearance" and "strange situation witnessed in the past 20 years" and so on, which were widely welcomed. For the same reason, it also began to translate and introduce western works. According to statistics, there are more than 1500 novels published in the late Qing Dynasty, and the translated novels account for two-thirds of the total. Among them, Lin Shu's translation had a great influence at that time. Since then, during the bourgeois revolution, a number of writers such as Zhang Taiyan and Nanshe, as well as works such as Nie Haihua and Jing Shizhong have also emerged accordingly. Ma and Su translated the poems of Goethe, Byron and Shelley. They played an active role in propagating anti-Qing and national democratic revolution. It is worth noting that drama, a new form of drama strongly advocated after the May Fourth Movement, was also introduced in the name of "new drama" or "civilized new drama" during this period. From 1907 to 1908, Chunliushe and others performed "Black Slave's Night" in Japan and Shanghai successively. Later, the evolution group performed various scenes to publicize the revolution in the lower reaches of the Yangtze River. These activities not only cooperated with the Revolution of 1911 on the ideological front, but also injected new blood into China's drama. All of the above shows that modern progressive literature not only served the political struggle at that time, but also made necessary preparations for the emergence of new literature after the May 4th Movement in terms of ideological content (anti-imperialist and anti-feudal tendencies to a certain extent) and even in terms of literary form (reforming poetry and prose, advocating vernacular Chinese, attaching importance to novels and introducing drama). It can be said that modern progressive literature is a transition from feudal literature to modern new literature. Weaknesses and limitations are only "a transition", and modern progressive literature also has its own insurmountable weaknesses and limitations. Just as all previous political struggles in the whole period of the old democratic revolution failed to complete the task of anti-imperialism and anti-feudalism, so did the literature in this period. Bourgeois reformist literature does not hold a fundamental negative attitude towards feudal system; It not only safeguarded the Qing Dynasty politically, but also dared not touch the foundation of Confucianism-Confucius' theory ideologically. The main representatives of the reformists, such as Kang Youwei and Liang Qichao, quickly became reactionary after the failure of the Reform Movement of 1898, and feudal thoughts still occupied a place in many new school works. Although there were voices advocating vernacular Chinese at the end of19th century, most of them advocated vernacular Chinese without opposing classical Chinese, or advocated that books and newspapers could adopt popular vernacular Chinese, and literature still needed to maintain the elegance of ancient Chinese. Even if there are one or two correct opinions, it has not caused extensive discussion because of the immature conditions of the times, which has caused great momentum. The translation of western literature is also in a state of blindness, passivity and lack of systematicness. Although Lin Shu translated a lot, he used Tongcheng ancient prose, which was adapted. Literature during the bourgeois revolution was not completely anti-feudal because it did not draw a clear line with feudal thought, and never put forward a slogan against feudal old literature actively and clearly. Revolutionaries themselves are divorced from the masses, and the conservative attitude of some representatives in unifying Chinese and using vernacular Chinese prevents them from organizing the Revolution of 1911, nor from carrying out a massive ideological enlightenment and literary reform movement accordingly, and their cultural influence is even worse than that of reformists. As for imperialism, neither bourgeois reformists nor revolutionaries can understand it from the class nature and have many illusions about it. In addition, a fundamental weakness of the old democratic literature is that although it can expose the corrupt life of the upper class to the fullest, it is extremely ignorant of the situation of the working people. With the successive failures of the Reform Movement of 1898 and the Revolution of 1911, some literature that once played a progressive role was finally corroded by the foul atmosphere in the modern city known as the "ten-mile foreign market" and tended to degenerate: "condemnation novels" became "shady novels" and even became "gossip books" dedicated to slandering private enemies; In the early years of the Republic of China, the works of Yuanyang Butterfly School with the theme of "gifted scholars and beautiful women" gradually evolved from a slightly progressive tendency (lamenting the cold world and dissatisfied with the freedom of marriage, etc.). ) has become a "romance novel", "narrow evil novel" and even pornographic novel, full of cliches, far from real life and full of strong ideological toxins. The new drama of civilization has also faded its original fighting color, and it is full of vulgar sentiment and low taste of ordinary citizens. This development of modern literature has profoundly confirmed Comrade Mao Zedong's famous assertion about modern culture: "The old bourgeois democratic culture has been corrupt and incompetent in the imperialist era, and its failure is inevitable." (Noe: On New Democracy, Selected Works of Mao Zedong, Volume 2, p. 657. 3 Introduction to the background of the May 4th Editors Holding high the revolutionary banner of thorough anti-imperialism and anti-feudalism in the field of literature, this task has to fall on the shoulders of the revolutionary literature after the May 4th Movement led by the proletariat. Although the literature during the old democratic revolution made some preparations for the establishment of new literature, it could not complete the tasks entrusted by history itself. The rise of the May 4th literary revolution is the inevitable result of the long-term social and literary conditions in modern China. After the May 4th Movement, all the basic contradictions and revolutionary tasks of China society have not changed in modern times, but the proletariat has stepped onto the historical stage, and the people's anti-imperialist and anti-feudal struggles led by it have flourished, and history has entered the period of new-democratic revolution. Therefore, on the one hand, various classes and contradictions within society are more complicated than in modern times, on the other hand, the specific historical conditions for solving these contradictions are gradually available and mature. Modern literature in China after the May 4th Movement bears such a profound historical imprint. Modern literature, as a literary reflection of modern complex class relations in China, contains complex and diverse elements. The new vernacular literature itself is not a single product; It is the result of the combination of three different literary forces: the proletariat, the revolutionary petty bourgeoisie and the bourgeoisie in the new period, and there are principled differences among its various components. Bourgeois literature contains quite complicated ideological factors, both positive and negative. It is not only qualitatively different from proletarian literature, but also greatly different from petty-bourgeois revolutionary democratic literature. Some representatives of the bourgeois right wing in literature have extremely weak anti-feudal ability, and their ties with imperialism are inextricably linked. After the struggle deepened, they quickly defected and became defenders of reactionary forces. In addition, during the whole period of the new-democratic revolution, there were also some other literary factors. Although the feudal old literature was hit hard, it was far from extinct; The works of Yuanyang Butterfly School were changed into vernacular Chinese and circulated among the citizens. As a literary product of the Kuomintang's reactionary fascist policy, in the 1930s and a period thereafter, fascist "nationalist literature and art", "Warring States policy" and so-called "counter-insurgency literature" appeared, all of which were literary counter-currents. The changes and struggles of various components in modern literature promote the rise and fall of different forces in literature, presenting a complicated situation. The change of ideology, but among these complicated literary elements, it is the anti-imperialist and anti-feudal mass literature led by the proletariat, that is, the literature of new-democratic nature, which occupies a dominant position, occupies an absolute advantage and has made great achievements. This is a completely new type of literature that truly belongs to the people themselves, which is very different from all democratic and progressive literature in history. On the one hand, this kind of literature is still not single on the basis of class, but it has the nature of the new democratic United front, including some bourgeois democratic literature that has played a certain progressive role and has anti-imperialist and anti-feudal requirements. On the other hand, "the politics, economy and culture of new democracy are all led by the proletariat, so they all have socialist factors, and they are not general factors, but decisive factors" (Note: Selected Works of Mao Zedong, Volume 2, page 665, On New Democracy. ), reflected in literature, has a thorough anti-imperialist and anti-feudal ideological content, a socialist direction, and a modern literary mainstream that embodies these characteristics-proletarian literature and revolutionary democratic literature under the influence of proletarian leadership. During the period of the new-democratic revolution after the May 4th Movement, proletarian literature existed only as a factor at first, but with the development of the revolution and the expansion of proletarian influence, with the increase of writers' acceptance of Marxist ideas and participation in revolutionary practice, with the participation of capitalist intellectuals and a few revolutionary workers and peasants in literary creation, especially with the vigorous development of the left-wing literary movement, it has increased and improved in quantity and quality. However, after the Yan 'an Forum on Literature and Art, the educational function of proletarian ideology in the works has become more and more remarkable, and this kind of literature has also developed more and more solidly. As for revolutionary democratic literature, under the specific historical conditions of our country, it has always been a reliable ally of the proletariat on the literary front, participated in the anti-imperialist and anti-feudal struggle with a brave and fearless attitude, gradually changed its nature, developed towards socialism, and finally merged into the torrent of proletarian literature. History refutes the false statement that the new literature since the May 4th Movement is only the inheritance and development of the "Gongan School" and "Jingling School" in the Ming Dynasty, or that it is "a newly expanded tributary" of bourgeois literature and art in Western Europe. The leadership of the proletariat, with revolutionary democratic literature and proletarian literature as the backbone, ensures the unprecedented brand-new nature of modern literature in China. The leadership of the proletariat over the literature of class change is mainly realized through the influence of proletarian ideology and party policies, which requires literature to become an integral part of the people's revolutionary cause led by the proletariat. After the May 4th Movement in China, new literature with revolutionary democratic literature and proletarian literature as the main force appeared, which consciously reflected this requirement. Since its birth, it has shouldered the lofty mission of serving the China revolution. The May 4th literary revolution has narrowed the distance between literature and people with new forms and contents-opposing classical Chinese, advocating vernacular Chinese, opposing old morality and advocating new morality. Slogans such as "Tongcheng fallacy, metaphysical evil" and "Down with Kongjiadian", some works reveal the essence of imperialism and yearn for the October Revolution, which also reflect the fighting requirements of the people's revolution in the new historical period; The creation of Lu Xun, the founder of modern literature, is a kind of "obedience literature" which obeys the orders of revolutionary pioneers, is completely anti-feudal and full of national awakening spirit. After the founding of the Chinese Production Party, with the development and deepening of the revolution, the consciousness of literature serving the revolution has become more and more distinct. At each revolutionary stage, a large number of writers not only directly or indirectly promoted the revolutionary cause with works of various forms, themes and styles, but also actively participated in the actual struggle until they gave their blood and lives for the revolution; There are also many practical revolutionaries and workers and peasants who use literary and artistic creation to engage in revolutionary propaganda and make positive contributions to the development of revolution and literature itself. Revolutionary literature under the leadership and influence of the Party is of great significance to cooperate with the anti-warlord struggle and the May 30th anti-imperialist struggle during the first revolutionary civil war, smash the reactionary cultural "encirclement and suppression" during the second revolutionary civil war, expose the evil rule of the Kuomintang, cooperate with the agrarian revolution and the propaganda of saving the country after the September 18th Incident, and encourage the people of the whole country to persist in unity and resist Japan and oppose secession and surrender. Especially the literature in the later period of the democratic revolution, under the direct guidance of Mao Zedong's literary thought, has become a powerful weapon to closely cooperate with the revolutionary struggle and "unite the people, educate the people, attack and destroy the enemy". Serving the revolution, the realistic struggle and the fundamental interests of the working people is one of the most precious traditions in the history of modern literature in China. At the same time, because modern revolutionary literature is an integral part of the people's revolutionary cause led by the proletariat, its changes and development at all stages are naturally inseparable from the changes and development of the revolution at all stages, and also from the new requirements put forward by the revolution for its in-depth development. As the beginning of modern literature, the literary revolution made ideological preparations for the movement on the eve of the May 4th Movement, but it was not until the May 4th Movement that it formed a huge momentum, expanded its social influence and was closely combined with the revolutionary struggle. The proposal of "revolutionary literature" on the eve of the first revolutionary civil war and the development of the proletarian revolutionary literature movement during the second revolutionary civil war were also in line with the situation at that time, reflecting the increasingly powerful role and influence of the proletariat and its theory in the whole revolutionary movement in China. 1942, Comrade Mao Zedong delivered a speech of great historical significance at the Yan 'an Forum on Literature and Art, which was a revolutionary literary movement.