Literature, art and movies take their shapes in certain historical conditions, bringing forth for humankind the objective world, the spiritual world and resulting in the dimensions of kaleidoscope for different authors to express their ideal world.
  Those kinds of works have recorded the human spiritual world.
  65 years of new China have past since the founding of the People's Republic in 1949. Great changes have taken place: from the semi-feudal and semi-colonial ravage to the socialist modernization when Chinese arose in developing countries. Its literature during the latest periods has passed through both joy and tortuous waves.
  The process of literature of new China with the development of its history can be divided into four periods: the early time, the cultural revolution, the reforming and opening period, and the current period of confusion and seeking truth.
  First, literature and art in the early days after Liberation (from 50s to 60s)-with huge historical changes of the new China, people became masters of the state, making conscious efforts for the development of socialist literature providing a solid foundation for life. At the same time, under the influence of the Soviet literature, Chinese literature gradually formed a representative one in the 50s and 60s. A batch of red classics with the dominant style and features of socialist new China appeared, such as Red flag, Song of Youth, Red Rock and so on. Sharing the common characteristics, those kinds of works were permeated with the revolutionary passion. Those authors were striving to shape the new heroes of workers, peasants and soldiers, highlighting the class struggle of social life, composing about the people of new era who knocked down the old society, describing the construction in the great historical process. Their lines were filled with idealism.
  Second, the cultural revolution literature and art (blank), as is known to all, focused on the founder of the People's Republic of China. Mao Zedong was the great leader of the Chinese people. During the cultural revolution, the Chinese culture, under the influence of the leader Mao Zedong and his literary thoughts, emphasized submitting to politics,  serving workers, peasants and soldiers and serving the proletariat. As Yu Hua wrote in the China In Ten Words: During the cultural revolution, ‘leader’ was a sacred and great word, synonymous to Chairman Mao, or rather, Mao's private property. No one dared to claim to be 'leader', even in the dream. You had no courage.
  At that time, Mao's poems were not only his sayings but also composed into songs. Both adults and children could sing in spite of the learned or the illiterate, landlords or rich peasants, counter-revolutionaries or misfits, rightists or leftists. To some extent, Mao Zedong was the most influential lyrics writer who had ever lived in China.
  But that was the cult of personality and left-leaning error. And even the Cultural Revolution made numerous educated youth involved in settling down in the countryside, countless innocent officials and intellectuals were persecuted, and the whole society sank into fighting movement. Human nature was greatly suppressed and distorted. Subject matters and themes of literature and art were more and more cramped. Forms and styles became more and more dull and stereotyped. Once the literary and artistic creation paused or dried up at all.
  Third, reform era literature (scar literature - reflection - root-searching literature - reform literature) --, after the Cultural Revolution, Chinese literature, art and films inherited the previous history as an important content, mainly describing the educated youth, intellectuals, persecuted officials and ordinary people in their miserable encounters and  unforgettable scrapes that charged a decade-long turmoil causing trauma to the Chinese people. A famous poet in deep, powerful, memorable lines wrote the poem Answer：‘I don't believe that the day is blue, I don't believe the echo of the ray, I don't believe that the dream is false, I don't believe in death without retribution.’This is what he called to his motherland and the voice of the world that represents the deep belief of human freedom. 
  At this time the culture of our country opens to the world.‘Literature and art serving the people and socialism’has replaced‘serving politics’. The authorities let all flowers bloom and allowed schools of thoughts contend. Therefor, foreign culture might be introduced and the ancient achievements could be referred. Measures of innovation were carried forward to widen the themes, and diversification was advocated. Productivity got greatly freed from subject matters, themes, forms and styles that were increasingly different.
  The ideological trend of the west literature influenced on Chinese works, and the modernism and postmodernism have taken their roots. Typical were those, such as  Bolshevik Solute and Butterfly by Wang Meng, and Transparent Carrot, Red Sorghum and White Dog Rope Swing by Mo Yan.
  Here is a conversation between the man and the woman from Mo Yan's White Dog Rope Swing.
 ‘over the years...... how have you got on?’I mumbled.
 ‘How? There is food, clothes, a man and children. Except the lack of one eye, I lack nothing. Is this good ?’She said sharply. ... ‘You... you should understand... I’m afraid you dare not. I put on an false eye. It’s my monthly period... I want a child who can talk... your promise will save me, but your refuse is to kill me. Even though there are one thousand reasons, there are ten thousand excuses, don't say to me.’
   White Dog Rope Swing, the title being not accidental, won the public sympathy. Mainly lying on a spiritual home and rural emotional problems, the story touched souls deeply. 
   Many times, we smashed many good things, intentionally or unintentionally, to the rural poor group. Isn’t the whole society completely responsible? For a long time we have demanded very much of the countryside, but we’ve invested relatively insufficiently. Isn’t the social structure a bottleneck restricting the development of our country? Works like this on behalf of the Chinese literature, art and films, in terms of human conscience and sense of mission and passion, is encouraging readers to an incentive degree, adding to the overall accumulation of national literature and culture.
   Fourth, new literature-- searching period - the impression of modern Chinese literature and art.
  In today's Chinese society, material civilization is becoming more and more developed, however, people face fierce competition and demoralizing situation. They have never struggled like this with great confusion. The period 1999-2009 formed the literature in the new century. True characters who work on the bottom line reflect the common people and employees in difficult situation. Authors describe the pain those "migrant workers" experienced. The old poet Bai Hua published From Qiu Jin to Lin Zhao, which seems to be lightning tearing apart the night and illuminating the earth.
  Documentary literature should be particularly mentioned for it is the brightest spot in this period. It’s time for harvest, such as The investigation of Chinese Farmers, The Chronicle of Clamp Ditches, The Criminal record of Niegannu, Looking for Homes, Grave and Looking for Daly. A number of influential works, or discoveries in the history of the secret, or what causes the pain of reality, not only show the vitality and achievements in the literature of this phase, but also indicate that literary writing should bravely face the darkness and real pain of history, to produce something that is deeply rooted in the hearts of people, so power of life can be attained.
  Today, more and more Chinese people are coming into the era of seeking inner peace, joy, freedom. The pace of China’s history is at the turning point.
  God’s hand will lift a new China! Chinese literature, art and films by then will finish its glorious chapter again!

  自1949之后，哪些重要因素造就了中国的文学、电影和艺术？
  文学、艺术、电影都是一定历史条件下，人类对于客观世界、心灵世界、理想世界的一种表达维度。文艺作品是对人类精神世界的一种记录。新中国的历史自1949年中华人民共和国成立至今65年以来，我们的国家已经发生了翻天覆地的伟大变化：从饱受蹂躏的半封建半殖民地变为屹立于东方的社会主义现代化的发展中国家。新中国文学伴随自己的国家也走过了既有喜悦欢欣，也有惊涛骇浪的曲折道路。　
  新中国文学以新中国历史的发展为进程大体分为四个时期：建国初期  、文化大革命时期 、改革开放时期、现今迷茫求索的时期 
  一、建国初期文学艺术(50年代末-60年代初）——新中国成立带来的巨大历史变革,人民当家作主、创造历史的自觉努力，为社会主义文学的发展提供了坚实的生活基础。同时我国文学也深受苏联文学的影响，在50、60年代逐渐形成了代表社会主义新中国文学的主导性风格与特征，出现了《红旗谱》、《青春之歌》、《红岩》等一批红色经典作品。作品的共同特点都是洋溢革命的激情，着力塑造工农兵新英雄形象，突出反映社会生活中的阶级斗争，谱写新时代人民推倒旧社会，建设新社会的伟大历史进程，字里行间充满理想主义的色彩。
  二、文化大革命时期文学艺术（空白期）——众所周知，毛泽东是中华人民共和国的缔造者，是中国人民的伟大领袖。文革时期中国文化深受领袖毛泽东及其文艺思想的影响，强调文艺从属于政治，强调文艺必须为工农兵服务，为无产阶级政治服务。正如余华在《十个词汇里的中国》里写道：“在文革时‘领袖’是一个神圣和伟大的词汇，是‘毛主席’ 的代名词，或者说是毛泽东的私有财产。没有人胆敢声称自己是什么‘领袖’，即便是在梦里也没有这个胆量。‘领袖’一词，对于毛泽东之外的所有中国人来说是一个禁区。............ 　
 文革的时候，不仅毛泽东的诗词，就是毛泽东的语录也都被谱写成了歌曲。大人会唱，孩子也会唱；有学问的人会唱，文盲也会唱；人民群众会唱，地主、富农、反革命、坏分子、右派也都会唱。从这个角度说，毛泽东是中国有史以来最具.影响力的歌词作家。” 可是就是这种个人崇拜和左倾错误乃至“文化大革命”的发动，使无数知识青年被卷入了上山下乡运动中，无数无辜的官员和知识分子被迫害，全民陷入大斗争大运动中。人性被极大地压制和扭曲。这场浩劫使我国文学艺术的创作题材和主题越来越狭仄，形式和风格也越来越单调和模式化，并使文学艺术创作一度完全停顿、枯绝。
  三、改革开放时期文学（伤痕文学-反思文学-寻根文学-改革文学）———文化大革命结束之后，中国文学艺术电影 自然而然地以文化大革命这一历史时期作为了重要内容。文革后的文学作品主要描述了知青、知识分子，受迫害官员及城乡普通民众在那个不堪回首的年代悲剧性的遭遇以及控诉长达十年的大动乱对中国人民造成的精神创伤。正如著名诗人北岛用深邃的、充满力量、让人难以忘怀的诗句，他在诗《回答》里写道：“我不相信天是蓝的，我不相信雷的回声，我不相信梦是假的，我不相信死无报应。”这是他向他的祖国和世界发出的声音，谱写对人类之自由的深切的信念。此时我国文化上也向世界各国开放，并以“文艺为人民、为社会主义服务”的口号代替“为政治服务”或“从属于政治”的口号，认真贯彻“百花齐放，百家争鸣”，“洋为中用，古为今用”，“推陈出新”的方针，大力“弘扬主旋律，提倡多.样化”，文艺生产力便获得大解放，题材、主题、形式、风格都日益多样。这过程中，西方各国文艺思潮和文学作品对我国文学的影响，包括现代主义和后现代主义的影响便日见彰显。如王蒙的《布礼》和《蝴蝶》，莫言的《透明的红萝卜》、《红高粱》和《白狗秋千架》等。请看在莫言《白狗秋千架》里面的男女主人翁的一段对话，井河: “这些年……过得还不错吧？”我嗫嚅着。
  “怎么会错呢？有饭吃，有衣穿，有男人，有孩子，除了缺一只眼，什么都不缺，这不就是‘不错’吗？”她很泼地说着。 ....“好你……你也该明白……怕你厌恶，我装上了假眼。我正在期上……我要个会说话的孩子……你答应了就是救了我了，你不答应就是害死我了。有一千条理由，有一万个借口，你都不要对我说。”
  《白狗秋千架》获得大众的同感和各项殊荣，不是偶然的，从其内涵来说，涉及到的是一个精神家园，乡村情感的问题，触及了人的灵魂深处。许多时候，我们亲手有意无意砸碎了许多美好的东西，对于农村长期贫困，我们的社会难道完全没有责任吗？长期以来我们对农村所索要的甚多，而投入的又相对不足，这种两元化的社会结构不是制约着我们乡村发展的瓶颈吗？象这样灵魂深处的作品代表我国文学艺术电影在人文关怀、使命感和良知激情方面，也都发挥到感动人和激励人的程度，从而进入民族文学与文化的总体积淀中。
  四、“新世纪文学”——迷茫求索的时期——现代中国文学艺术之印象。
  在中国社会物质文明日益发达的今天，国人面对激烈竞争、世风日下和道德沦丧的社会局面，精神上出现了空前挣扎和迷茫。1999-2009属于“新世纪文学”，在这个时期，“底层写作”和“打工文学”却以令人震撼的尖锐和真实，反映了处于社会底层的人们艰难境遇，叙述了进入都市的“农民工”的痛苦经验。老诗人白桦的《从秋瑾到林昭》却横空出世，仿佛一道划破夜空的闪电照亮大地。特别要一提的是纪实文学的写作是这个时期文学最大的亮点和收获，《中国农民调查》、《夹边沟纪事》、《聂绀弩刑事档案》、《寻找家园》、《墓碑》和《寻找黛莉》等一批影响巨大的作品，或揭历史之秘，或诉现实之痛，不仅显示着这一阶段纪实文学的活力和实绩，而且昭示着文学写作，只有勇敢地直面历史的幽暗和现实的疼痛，才能产生深入人心的力量，才能获得长久的生命力。今天，更多的中国人进入到了寻求内心平安、喜乐、自由的时代，中国历史的步伐也到了该有的拐点，上帝祝福的手必托起不一样的中国！到那时中国文学艺术电影会再一次谱写上帝光辉的篇章！