上世纪80年代以来，在“重写电影史”的号召下，中国电影史研究开启了从宏观向微观、从文化精英向普通观众、从历时研究向共时研究的转向和探索。基于如此的学术背景，本文将借用新史学领域日常生活史的研究方法，聚焦1932-1937年这一时间段，以上海女工群体为研究对象，将该群体的观影活动放置于日常娱乐生活中进行考察，全方位还原上海女工群体以观影活动为中心的日常社会生活样貌。

第一章“作为电影观众的上海女工群体”：上海女工群体往往依托地缘和乡谊的社会关系，形成就业工种、工资收入、居住区域和日常娱乐方式的分化，形成了以沪西、闸北、杨树浦三大工业区为中心的电影消费生态区。在高负荷的工作压力下，女工群体可支配的休闲时间十分有限，电影逐渐成为她们都市娱乐生活中的重要选择。

第二章“上海女工群体的观影途径与观影选择”：虽然上海女工群体居住区域的电影放映生态各有不同，但该群体的观影偏好却极为相似，国产喜剧片、爱情片和武侠片成为她们及劳工阶层最为热衷的类型选择。与此同时，女青年会女工夜校、各类工社的教育电影放映，又进一步拓展了女工群体的观影途径，提升了她们的职业技术能力。部分女工更是在夜校老师的带领下，自主观看进步电影与苏联电影，进而完成了对于自身处境与社会现实的认知。

第三章“多元意识交织下上海女工群体与电影文化的互动”：对于上海女工群体而言，20世纪30年代的国产电影不仅是她们追求都市摩登文化的范本，而且影片中女工的形象及人生遭遇又与作为观众的她们形成镜像互文与命运共情。与此同时，上海女工群体通过观影行为进入现代公共社交空间，左翼电影歌曲与左翼影人引领下的电影文化活动帮助她们完成了“反帝反封建”革命理想的启蒙与塑造。

综上所述，由于上海女工群体收入拮据，日常娱乐时间有限，因此她们并不是上世纪 30年代上海社会主要的电影观众群体。然而，在有限的观影频率下，影片中的现代摩登文化与革命进步思想都对她们产生了潜移默化的影响，并在一定程度上改变了上海女工群体的自我认知，完成了阶级意识的启蒙。

Since the 1980s, under the call of "rewriting the history of cinema", the study of the history of Chinese cinema has begun to shift and explore from macro to micro, from cultural elites to ordinary audiences, and from ephemeral to diachronic studies. Based on this academic background, this article will use the research method of the history of everyday life in the new historiography field, focusing on the period of 1932-1937, taking the female workers in Shanghai as the research object, and examining the film-watching activities of this group in the context of their daily entertainment life, in order to restore the daily social life of the female workers in Shanghai with film-watching activities as the centrepiece.

Chapter 1, "The Shanghai Women Workers as Movie-goers": The Shanghai women workers are often differentiated by the type of employment, wage income, area of residence and daily entertainment based on their social ties of local ties and friendship, forming an ecological zone of movie consumption centred on the three industrial areas of Huxi, Zhabei and Yangshupu. Under the pressure of high workloads, women workers have very limited leisure time at their disposal, and cinema has gradually become an important choice in their urban entertainment lives.

Chapter 2, "The Movie Viewing Channels and Choices of Shanghai Women Workers": Although the movie viewing ecology of Shanghai women workers varies from region to region, their movie viewing preferences are very similar, with domestic comedies, romance and martial arts films being the most popular genres for them and the working class. At the same time, the educational film screenings at the YWCA's evening schools for women workers and various trade unions have further expanded the access of women workers to films and enhanced their vocational and technical skills. Some women workers watched progressive films and Soviet films on their own under the guidance of their evening school teachers, thus completing their awareness of their own situation and social reality.

Chapter 3: "The Interaction between Shanghai Women Workers and Film Culture under the Interplay of Multiple Consciousness": For the Shanghai women workers, the Chinese films of the 1930s were not only a model for their pursuit of urban modern culture, but the images of women workers and their life experiences in the films also formed a mirror image of intertext and empathy with their fate as viewers. At the same time, through the act of watching films, Shanghai women workers entered the modern public social space, where left-wing film songs and cultural activities led by left-wing filmmakers helped to enlighten and shape their revolutionary ideals of "anti-imperialism and anti-feudalism".

In summary, women workers in Shanghai were not a major part of the cinema audience in the 1930s, due to their low income and limited time for daily entertainment. However, with their limited viewing frequency, the modern culture and revolutionary progressive ideas in the films had a deep influence on them, and to a certain extent, changed the self-perception of the women workers and completed the enlightenment of class consciousness.