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3. The Trends in Chinese Literature of XX and XXI Centuries Issues of Far Eastern Literatures: Materials of the 11th International Scientific Conference. June 27–29, 2024 49 required by genres of drama. And so staging becomes an independent and original work. Modern Chinese playwrights go to the works of famous authors. There are several staging variants of Lu Xun’s “The Cry” collection. The “Rickshaw” staging by Mei Qian was published in “Ju Ben” journal. The initial Lao She’s intention is preserved, but the emphasis is made on the unfortunate personal life of the main character. The work was put on a play in 1981. “The family” by Cao Yu is a staging of eponymous Ba Jin’s novel. Ba Jin was focusing on the conflict between dofferent generations in a large family. But Cao Yu integrated tragic tone into the plot. The staging is interesting not only to viewers, but also to readers. On the one hand, sreenplay is a complete work of art. But on the other hand, it is mostly interesting for those who will turn the authors ideas into films in accordance with the format. As a result, the viewers will associate the film with just its director’s name, and the author of the prose work will take second place. As an example Zhan Yimou films can be given, especially non-matching the original name of the story. In gerenal screenwrit- ers are to create an original literature work, which is closely related to the cinema and has artistic value at the same time. A new trend in Chinese literature named cine-literature has appeared. And the main genre here is script. Best scriots can be published in literary editions. Staging and screenplay are autonomous genres in the modern Chinese literature. They have in common the fiction transformation into drama. The specificity and style of a new piece of work are determined by the thearte o. Keywords: staging, screenplay, authorial intent, cinematic literature. Pchelintseva Kirena (SPbSU), red_dogrose@mail.ru Features of the Depiction of the Japanese Resistance War in the Novel “Banzai to Brave” by Zhang Hengshui A feature of the novel “Hurrah for the Brave” by Zhang Hengshui The specifics of the narrative in the novel The specifics of the characters, the nature of their relationship The relationship between the Kuom- intang troops and the local population The author's attitude towards the characters The Japanese in the novel. Keywords: The war of resistance, the image of the Kuomintang troops. Rodionov Alexey (SPbSU), aleksey.rodionov@spbu.ru Perception of Russia in “Ravens and Snow” by Chi Zijian The novel “Ravens and Snow” (2010) by Heilongjiang writer Chi Zijian (b. 1954) was written for the 100th anniversary of the Manchurian plague and was intended to revive the memory of the tens of thou- sands of victims of the epidemic. The story is set in Harbin, and its characters include Chinese, Russian and Japanese. The novel is rich in details of life in Harbin and voluminously reproduces the special cultural atmosphere of the international metropolis, where there was a clash and mutual influence of the cultures of Russia, China and, to some extent, Japan. The image of Russia and Russian life is conveyed through the names of people and descriptions of their destinies, through the names of churches, factories, shops and the story of their coming to Manchuria. Although some of the Russian heroes of the novel are drawn by the author with sympathy, in general, Russia’s actions in the development of Manchuria are described as colonialist and leading to the infringement of the rights and interests of the Chinese. “Ravens and Snow” is a valuable source of information about the attitude of modern Chinese towards Russians, the history of Russian-Chinese relations and the image of Russia in China. . Keywords: Chi Zijian, “Ravens and Snow”, Perception, Russia.