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The Research on the Global Competition of Chinese Film Since the New Period

Author: LiXiaoLing
Tutor: ChengJinCheng
School: Lanzhou University
Course: Contemporary Chinese Literature
Keywords: Chinese films global competition new period soft-power
CLC: J905
Type: PhD thesis
Year: 2008
Downloads: 1265
Quote: 1
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Abstract


In the 21st century, the global competition has gradually been focusing on the culture-aimed soft-power competition, with film as the important symbol of global soft-power competition. The assessment and reinforcement of global competition of Chinese films (abbr. as GCOCF in the following) constitutes not only the most pressing issue but one of the most important sectors of China’s rising in the new century as well, and it is also the research value of this thesis.The thesis is made up of three parts: introduction, main body and conclusion, and the main body consists of five chapters.In the introduction, the author mainly expounds the topic that film is the major cultural symbol of global soft-power competition for China, and provides a precondition for the concrete study of GCOCF.The first chapter elucidates the research background and research system of the thesis.The present research for GCOCF has made remarkable achievements, but since many are treatises which either emphasizes industry or generalize partially, it still needs to be improved, which is the cultural background of this research.Taking the Chinese mainland films of 1979-2006 as the research object, by constructing the "globe-structure-like pattern", the author makes a research on GCOCF. This pattern defines the soft-power of Chinese films as the nuclear circle, such as film works, producers, audience, cultural context and other factors; compares the hard-power of the Chinese film to the outer circle, such as film industry, managing system, international prize and other factors; sets the apparent factors as the crust circle, such as international prize, ticket profit, post-product income, audience number and the whole profit; and places the whole situation of economy, politics and culture as the outside cultural ecosystem, thus constituting an interactive, interchangeable assessment system of GCOCF, and providing an effective research pattern for this research.The second chapter introduces the primary condition of Chinese films from the two aspects of soft-power and hard-power since the new period (since 1978) and lays a foundation for the assessment of GCOCF.The third chapter mainly studies the advantages of GCOCF since the new period. Concerning soft-power, the abundance and vigor of ethnic culture resources of films works, the elegance and uniqueness of swordsman films, the internationalization of directors and stars, the multitude of potential audience, the national standpoint and international preference of cultural context, all these are the crucial forces of Chinese films; while with regard to the hard-power, the increasing number of prize won at the international film festivals lays a solid foundation for the prevailing " Chinese vogue" in the movie world. All these are the outcome of the long-term persistent exploration since the new period and also the valuable wealth of Chinese films. The fourth chapter mainly studies the disadvantages of GCOCF since the new period. The void of national value and cultural spirit, the monotony of film types, the incapability of narration, and the alienation with culture, all these lead to the colorlessness and inferiority of the spiritual connotation and artistic standard of Chinese film. Meanwhile, the lack of word-class film directors and box-ticket appealing stars, the actual lopsided number of audience and the low approval for Chinese films, together with the conservatism and radicalism of post-colonial film criticism under global surge, all these form the trammels of the soft-power of Chinese films. And the fragility of film industry and inflexibity of managing systems are the weak points of the hard-power of Chinese films.The fifth chapter mainly discusses the reinforcing strategies and prospect of GCOCF.In the thesis, the author thinks that GCOCF has got great development and rapid elevation during the three decades since the new period and Chinese film industry has become the newforce and landscape in the global movie world. But, as compared with the film superpowers, GCOCF is still not strong enough, which doesn’t match with china’s international status. Therefore, to promote Chinese film industry, elevate GCOCF, spread Chinese cultural and reinforce Chinese soft-power, still remain the ultimate purpose of Chineses film in the new century.So, the author thinks that, in the new century, through improving and elevating the soft-power and hard-power of Chinese films persistently, Chinese film should actively construct and reinforce the "Super Chinese Film Circle"(SCFC) which takes Chinese language as its common cultural symbol and Chinese national culture as its nuclear ideology, and advocate and strengthen the "Extensive Asian Film Circle"(EAFC) which is Confucianism-guilding with quality of oriental civilization. Basing on this, by consolidating the combination of "SCFC" and "EAFC", Chinese film should learn from the successful experience of western film superpowers with an open mind and try to elevate the GCOCF with a global insight and international vision in its new exploration and creation.The value of this thesis lies in that: firstly, the authour constructs the "globe-structure-like pattern" assessment system of GCOCF, and then suggests to construct and consolidate " SCFC" and "EAFC" to improve the GCOCF in the cultural combination; finally, the actual case study and quantitative analysis of Chinese films as compared with the films of such film superpowers as USA, Korean and Japan is another characticristic of this research.

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CLC: > Art > Movies, TV Arts > Film,television, art theory > Television and movies, reviews, appreciate
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