Zheng Zhengqiu (1888 ~ 1935)
郑正秋（1888 ~1935)
Zheng Zhengqiu, an early Chinese famous director and screenwriter, was bom in Shanghai on January 25, 1889. From the beginning of 20th century to the end of 1920s, China's 1st generation of directors appeared with the birth of Chinese films under poor and unexperience conditions. The Chinese film pioneers produced the first group of Chinese feature films. Among them, Zheng Zhengqiu was the greatest successful director.
郑正秋，中国早期著名的导演、剧作家和编剧家,1889年1月25出生于上 海。20世纪初到二十年代末，随着电影在中国的诞生，出现了中国“第一代导演”。这些中国电影的先驱,在简陋、艰苦，又缺乏经验的条件下，创作了中国电影第一批故事片。“第一代导演”中成就最大的是郑正秋。
Zheng Zhengqiu was a versatile filmmaker. In 1913,he and Zhang Shichuan co-produced his The Couple in the Hard Times （Dong Fang Hua Zhu) . This was the first Chinese short feature film which made the first step to engage himself in film career. In the end of 1923, Orphan Rescues Grandfather, written by him and directed by Zhang Shichuan, was on the screen and of great success. In 1929, he wrote and directed Fellowmen.
郑正秋是一位多才多艺的电影人。1913年，与张石川合作导演，把由他编写的《难夫难妻》（又名《洞房花烛》）搬上银幕。这是第一部中国短故事片。从此开始了他的电影事业的第一步。1923年底，由他编剧、张石川导演的《孤儿救祖记》上映，获得巨大成功。1929年，他创作并导演了《战地小同胞》。
In 1930, he wrote and directed The Hall of Broken Zither in which he played the leading role. In 1934, Twin Sisters written and directed by him had its moments and was of huge social influence. He had written 50 films included Labourer's Love (1922) , The Couple In Name (1927) and The Burning of Red Lotus Temple Part( 1 ~ 4) ( 1928) and directed The Tablet of Blood and Tears (1927)，The White-Cloud Pagoda (1928)， as well as starred Labour's Love.
1930年，创作、导演并主演了《碎琴楼》。1934年，他编导的《姊妹花》轰动一时，并产生巨大的社会影响。郑正秋曾编剧过《掷果缘》（又称《劳工之爱情》）（1922)、《挂名夫妻》 (1927 )、《火烧红莲寺》（1928)等50多部影片，导演过《血泪碑》（1927)、《白云塔》（1928)等，还主演过《掷果缘》等。

As a Chinese film pioneer, he had his own definite artistic ideas and pursuits more than his contemporary directors. Except his main achievements in pioneering Chinese films, the most important one laid in his starting fine tradition of Chinese films and drawing rich creation sources from real social life as well as stage art of drama, which laid a foundation for pioneering the artistic road of Chinese films. Zheng Zhengqiu was rich in life and stage creation experience and he put forward that films should not only cater to audiences but also lead their enjoyment interest. Accordingly, his works could rather seize and move audiences, especially those citizens, and had profound influence.
郑正秋作为中国电影的开拓者，与同时代的导演相比更有艺术主见与追求。他的主要功绩除了在开拓电影事业外,最重要的还在于他开创了中国电影从现实社会生活和戏剧舞台艺术方面汲取丰富创作源泉的优良传统，为中国电影艺术道路的开辟奠定了基础。郑正秋有丰富的生活和舞台创作经历，提出影片不仅要迎合观众，而且要引导观众的欣赏趣味。因此，他的作品比较能够抓住观众,打动观众的心灵，特别是受到市民观众的欢迎，影响深远。
Zheng Zhengqiu had tried to find out a national culture road rooted in Chinese land and devoted a great deal of her efforts to Chinese films from silence to sound, which laid a foundation for the development of early Chinese films.
郑正秋始终摸索一条扎根于中国大地上的民族文化道路，为中国电影从无声到有声片倾注了大量心血，为中国早期电影事业的发展奠下了基石。