She began her activism work in Shanghai, writing essays for magazines and newspapers, where she expounded her beliefs about feminism, women's rights, and national salvation.

[1] It was also in Shanghai that Chen became a notable celebrity, starring in films and theatre productions and advocating for leftwing pro-communist revolution.

[2] Chen Bo'er was an ardent feminist, whose work paved the way for women filmmakers and revolutionaries in China.

Nonetheless, her elite status allowed her to go – as was customary for children of wealthy families – to a larger city for high school.

Leaving behind Anbu, Chen studied in Nanjing and Shanghai, where she learned to speak English on top of her native Cantonese and middle school Mandarin.

Before becoming an integral part of Shanghai, Yan'an, and the Northeast's revolutionary film worlds, Chen made her living writing essays which expressed her beliefs in feminism and socialism through the late-1920s and early-30s.

[1] In this 1936 essay published in Women's Life magazine, Chen parses and explores the complex psychological consequences on female audiences watching imbalanced gendered power dynamics.

She is thus quoted (as Zheng Wang translates):In a male-centered society, politics, the economy, and all the ruling powers are in men's hands.

Chen ends this essay with a provocative revolutionary conclusion: "Women's pursuit of freedom and equality requires the efforts of all walks of life.

"[1] Zheng Wang notes that this ending is meant to be ironic, although it nonetheless makes clear the intensity and earnestness of Chen's feminist and leftist beliefs.

She believed that her participation in the film world could create an affirmative change in the popular media image of Chinese women.

She held a starring role as Li in 1934 sound film, Taoli jie [Plunder of Peach and Plum] which was known also as The Fate of the Graduates – this is one of China's earliest talking movies.

[2] In 1936, she starred alongside fellow political activist Yuan Muzhi, who would one day become her real-life husband, in Unchanged Heart in Life and Death, a revolutionary propaganda film.

[6][1] Chen also held a role playing a girl scout in Babai zhuangshi [800 Heroes] (or sometimes translated to 800 Brave Soldiers or 800 Warriors) in 1938.

The left took up public theatre as a way to increase resistance among urban populations, including student voices and movements, especially in Shanghai and Nanjing as these were considered modern cultural cities.

[8] As an attractive young woman and rising celebrity, Chen's performances garnered a great amount of media attention – especially in Put Down Your Whip in 1937.

[9] Her time here was one of the most important moments of her career, and certainly much of today's literature which engages with Chen's life and work places an emphasis on Yan'an.

[12] Chen's directorial debut was Working Hero in the Communist Base (1946), though she was unable to complete the film because of the Civil War.

[9] Chen was the first female director wholly supported by the Communist government, fully endorsing her film work and activism.

[9] With this influence of the Communist government's endorsement, Chen was able to make notable strides in feminist and socialist activism through her art-making practices.

Directing and producing films and stage performances in Yan'an, Chen arranged her artistic endeavours such that ninety percent of the actors with whom she worked came from working-class backgrounds.

[9] Chen's initial endorsement and hard work allowed for future generations of women directors, such as these, to have successful and culturally significant careers.

The Yan'an Talks are remembered for their pedagogical and punitive agenda, wherein Mao Zedong criticized the 'wrong' views of some Communist intellectuals and artists.

Though her beliefs resonated completely with Mao's Talks about revolutionary culture, Chen's vision also added a feminist perspective.

[1] After this incident, Chen hired a nanny to take care of her other son, and also began to take him with her to her busy work events rather than leave him with his father.

[11] After the revolution, in 1949 when the People's Republic of China was founded, the couple played important roles in both the ministry of Culture as well as the Northeast Film Studio.

During her life, Chen was known as a benevolent educator, supporter, and role model for young women and leftist youth, and was very kind.

[11] Famous May Fourth writer Ding Ling, who lived in Yan'an for a period of time, spoke to her popularity (as translated by Zheng Wang):"She was in poor health, and yet her meals came from the big pot shared with all...Nevertheless, she took it naturally and joyfully.

[1] In her death, Chen's key contributions to China's film industry and leftist revolution did not mask or overshadow her feminist stance and strides in women's liberation.

"[17][1] Because of her major cultural impact, it is striking to note that Chen Bo'er's life story has been largely erased from history.