Abstract：The aesthetic practice of early Shanghai cinema was primarily manifested in its localization strategies. Firstly, after the introduction of film technology from the West, early Shanghai filmmakers engaged in unique formal explorations and aesthetic practice through material selection, production, and screening. The overall construction and aesthetic orientation were imbued with the essence of traditional culture. Secondly, in the contest with the portrayal of the“other”in Western imagery, the early Shanghai directors consciously assumed the responsibility of constructing autonomous images and successfully created a series of new representations, such as those of farmers, petty urbanites, and women. Lastly, during the transition from hybrid spaces like teahouses to specialized cinemas, the early Shanghai cinema reflected the characteristics of the nation, society, and people in terms of culture, social structure, and psychological state during that unique period. These aspects constitute the three dimensions for examining the aesthetic practice of early Shanghai cinema: distinct localization, autonomy, and spatiality.
