由這十五部電影發現，左翼電影透過寫實又煽情的手法將批判的內容包裹其中，其描述的角色、內容逐漸複雜、多元，也反映出創作者對於題材掌握度的提高，到了史詩性電影的出現，更是左翼電影創作者對社會的認識與體會充分發揮的表現，而其藉由盧卡奇所提出浪漫幻滅的方式，藉著電影中角色一再掙扎仍無法如願的狀況，也諷刺及批判社會生存條件的嚴苛及階層間的壓迫關係。 This investigation has chosen 15 different left-wing Chinese films made from 1933 to 1950 as subject matter of analysis. It is through the exposition of the social reality, the encounters of the characters and the change of the living conditions of the society, that the difficulties in the social reality of the small people are depicted. The detail enfolding of the stories had induced in the audience a strong sense of identification and sympathy. The success and means of representation of this trend also deeply influenced the Chinese cinema after 1949.
The development of these 15 films can demonstrate that the realism and melodramatic means within them, the characters portrayed, the variety of content and the pluralism reveal the creativity and skill of handling of the contents. The epical development at the later stage showed that the film-makers of the Chinese left-wing cinema possessed a keen understanding and full exposition of the social reality. Finally, the adoption of the idea of “Romanticism of Disillusionment” cherished by G. Lukas further enhanced the criticism and sarcasm of the drastic living conditions and class repression.