Around1930s, three writers, Liu Naou, Mu Shiying and Shi Zhecun, created a new school of feeling in China literature with their own observation and experience of Shanghai. In the past, under the oppression of social and literary factors, the literary value of China's New Sensation School was suppressed and did not receive due attention. It was not until Professor Yan Jiayan cut in with the modernist point of view and affirmed China's bold breakthrough in novel form that he gained attention and became the focus of scholars' attention and research. The writing purpose of this thesis is to explore the impact and brand-new experience brought by the three writers in the special environment of Shanghai around 1968+0930, and how they made various forms of innovation in their literary creation practice, and to use the interdisciplinary artistic expression of movies to complete the expression of brand-new experience.

The first chapter of the paper first combs the confusion of the appellation and orientation of China's neo-sensationalism, and clarifies the concepts of distortion and misreading when quoting the western modernist trend of thought due to the guidance of Qiang Bing, a rich country during the May 4th Movement. Based on the change of literary concept since the 20th century, this paper discusses the breakthrough of novel creation in fixed time sequence and its influence and infiltration after the invention of film. The first chapter focuses on the definition of ideas, and the second chapter explains the reasons why the new sensation school has been neglected for a long time and even its literary value has been completely obliterated from two aspects of history and geography. First of all, according to the geographical situation of Shanghai, it explains the grand occasion of Shanghai's heterogeneous land and large population and unusually prosperous business. It also shows that the environmental gap between China and Shanghai forces the scholars of China New Sensation School to fall into an incomprehensible loneliness, which makes their new feelings in Shanghai unable to be understood and heard.

The third to fifth chapters are mainly writers, whose works discuss how the appearance of metropolis is constructed and how to express their metropolis experience. During the discussion, Liu Naou was a pioneer in translating and introducing the Japanese neo-sensation school and founding the magazine Tram Train. On the basis of Liu Naou, Mu Shiying pushed the urban writing of China New Sensation School to the peak with his talent. However, unlike their creative direction, Shi Zhecun avoided describing the metropolitan landscape and went straight to the subtleties of human desires, so he arranged to discuss it after the chapters of Liu Naou and Mu Shiying.

This paper takes three representative writers of China New Sensation School as the research object, and interprets their works from two aspects: urban feelings and writing skills. In addition to demonstrating that the technicality and visuality of movies strongly dominate the expression of "new feelings" of the three writers, I also hope to shift the focus of biased discussion to the works themselves, so that the three representative writers can get due attention and fair evaluation in the creation of forms and techniques.