The mandarin duck butterfly school used fictional artistic rhetoric to write the ordinary family affairs of filmmakers. By creating psychological resonance and emotional resonance, it paved the way for the citizens to finally accept the film as a new "media species". They incorporated the film as the material and background into the novel, described the fictional story of the joy, anger and joys of the filmmaker, made the public familiar with the film characters and various film spaces,and deepened the emotional connection between the audience and the film. Their film reviews absorbed nutrients from traditional drama, literature and art,and formed an integral part of the early Chinese film theory. They not only played a role in enlightening the audience, but also built a theoretical foundation for the localization of Chinese films. They took newspapers and magazines as the carrier, comments and essays as the channel,and introduced films into people's familiar daily life in a way consistent with the aesthetic psychology of Chinese people. They integrated the cold technical object of films with the things around the public that can be perceived and understood, life experience and social interaction, and promoted the localization of early Chinese films.