Chinese Cinema Research Articles

Research and Analysis of Internet Feminism: A Case Study of Characters in Contemporary Chinese Film and Television Works

Research and Analysis of Internet Feminism: A Case Study of Characters in Contemporary Chinese Film and Television Works

The Influence of Soviet Films on Chinese Films in the 17-Year Period: An Analysis of the Film Zhang Ga the Soldier Boy

This paper presents a case study of the film Zhang Ga the Soldier Boy, focusing on how films released duringthe 17-year period are influenced by the theory of Soviet montage. A comparative analysis was carried out on four elements of the movie: Close-up shots, low/high-angle shots, shots of the Masses, and three montages of Pudovkin (metaphorical montage, contrast montage, and repeating montage). By comparing the similar social backgrounds and film techniques between Chinese and Soviet films, this paper aims to provide references for future film studies, especially the relationship between montage and politics.

In Plight and Reformation: Transnationalism and “Chinese-ness” in the 1930s and Recent East Chinese Films

With the importation of filmmaking technology at the end of the nineteenth century, Chinese cinema was developed in the context of ideological exchanges. This research will examine the concepts of transnationalism, modernism, and globalization in two Chinese films produced in different periods. The Chinese autoethnography of the turbulent 1930s is written with the representations of different sociopolitical groups and stylist film techniques. Focusing on The Goddess (1934) and The Flowers of War (2011) from a feminist perspective, an investigation of the evolving perception of 1930s East China raises new questions and insights into the history.

A Brief Analysis of English Film Title Translation from the Perspective of the Strategies of Domestication and Foreignization

The film is a highly influential and popular audio-visual art. The title of a movie is the epitome and essence of its content. Films are both cultural arts and commercial products. An excellent film title translation plays an important role in promoting film transmission, which includes social functions such as conveying film information, showing the beauty of language and promoting box office revenue. As the continuous deepening of globalization and the prosperity of the China's film and television industry, there is an increasing number of foreign films entered the Chinese market and some influential and acclaimed Chinese films also accessed to international market. In this process, it is inevitable to involve the linguistic, cultural and aesthetic differences between the source language and the target language. Faced with the cultural differences in translation, the core issue is how to flexibly use translation strategies to have the translation of film titles to be the best. This paper analyzes the application of domestication and foreignization strategies in the process of translating English film titles, and discusses the interrelationship between these two strategies, the effects they achieved respectively and the development trend of them.

Robust maximum expert consensus model with adjustment path under uncertain environment

The maximum expert consensus model (MECM) is a commonly used consensus model in group decision making (GDM). In traditional MECM, the consensus constraints are not fully considered and the adjustment cost of decision maker (DM) is certain. Moreover, directing the DM’s opinion in a visual path is seldom considered in the consensus reaching process (CRP) of MECM. Inspired by these issues, this paper first proposed two MECMs with different types of consensus constraints. Then, this paper incorporated an adjustment path into MECM by using feedback coefficients that can prevent opinions from being overadjusted. Furthermore, the robust MECM (RMECM) is developed to address the uncertainty of unit adjustment cost under three uncertainty sets. Finally, the feasibility of the proposed models is verified by applying them to the allocation of special funds in the Chinese film industry, which is a large-scale group decision making (LSGDM) problem. The sensitivity analysis and comparative analysis are also conducted to show the efficiency of the proposed models.

Film as Art: From Art Theory to Film Theory

This article uses the introduction of the book Film as Art, the definition and interpretation of the concept of “film,” the connotation and extension of “film art,” the necessity and possibility of “film art” research, etc. to analyze China’s important theoretical issues in the development of film theory are sorted out and reflected on. The article believes that in the context of globalization, the development of Chinese film theory faces many theoretical issues, such as the independent character of the theory itself, the relationship between theoretical research and creative practice, and the influence of socialist literary and artistic thought with Chinese characteristics on contemporary Chinese film creation and theoretical research. In this regard, the article puts forward some corresponding countermeasures. This article believes that only by adhering to the development path of socialist literature and art with Chinese characteristics and taking film as art as a basic principle can we promote the prosperity and development of Chinese film theory in the new era and can we better play the important role of Chinese films in the world cultural field.

The creative characteristics of Liu Chi's film songs in the early days of the founding of the People's Republic of China

In the early days of the founding of the People's Republic of China, Chinese film music entered a heyday, and Liu Chi was the most influential composer at that time. In his film songs, based on the development of the times, he boldly used ethnic and folk music as song materials, innovated the form of songs, and created many popular film songs for the people. This article starts from analyzing the three movie songs created by Liu Chi in the early days of the founding of the People's Republic of China, and summarizes his creative characteristics from the perspectives of nationality, originality, and contemporaneity. Provide research ideas for the development of film songs during this period.

The Value of Folk Belief in Chinese Films

Folk belief is closely related to people's life, and it is the value crystallization of the agglomeration and evolution of human society and culture. Folk beliefs are also presented in literary and artistic works, and diversified social and cultural values are constructed together with the texts, showing the cultural pattern based on folk beliefs. In Chinese films, the folk custom also constructs the special value and cultural connotation of the film art based on the video text, and the folk belief in the film art echoes each other, establishing the dual value of the film art and the folk belief.

The ‘Queer Woman’ between Shanghai and Nanyang, 1920s–1930s

This article examines the actress Yang Naimei and a movie produced by her film company entitled Qi nüzi (A Queer Woman, dir. Shi Dongshan, 1928), based on the recent suicide of Yu Meiyan, a headline-making femme fatale. Premiered in Shanghai in October 1928, Yang took the film on tour in British and Dutch colonies across Nanyang (today’s Singapore, Malaysia, and Indonesia) between 1929 and 1931. This first film company founded by a woman in China and its sole film output have sunk into oblivion in Chinese film historiography. I argue that this disappearance reflects two acts of negligence: the negligence of the ‘queer woman’ (qi nüzi) vis-à-vis the canonical ‘new woman’ (xin nüxing), and that of diasporic/Sinophone film spectatorship outside China proper. Drawing on a miscellany of texts, this article excavates the forgotten ‘queer woman’ in Chinese film and inquires into the historical conditions that contributed to her omission. It also charts the cultural exchanges of films, performances, and discourses between Shanghai and Nanyang, illuminating the complexities and ambiguities of screening and performing in these interstitial spaces.

From the Soil to the Screen: Women Representation in Contemporary Rural China

This research delves into the representation of female characters in contemporary Chinese cinema, focusing on films set in rural and underdeveloped areas between 2010 and 2022. Under the guidance of Professor Luis Duno Gottberg at Rice University, the study scrutinizes the complex interplay between traditional socio-cultural norms and evolving gender perceptions within these cinematic narratives. Central to our inquiry is the exploration of how a distinctly Chinese interpretation of the Male Gaze and entrenched Confucian patriarchal values shape the portrayal of women, signaling a negotiation between historical and cultural influences and modern identities. Employing a qualitative research methodology, this study integrates a comprehensive literature review, focusing on feminist film theory and its application within the Chinese context. Content analysis of selected films is conducted to uncover recurring visual and narrative themes, character development, and gender dynamics.

Revivalism in the New Life Movement and Cultural Conservatism in Early Chinese Films, 1934–1937

Abstract During the period of 1934–1937, the cultural atmosphere of revivalism was magnified by the New Life Movement (新生活运动, Xinshenghuo yundong). Within this period, certain films of cultural conservatism (文化保守主义, Wenhua baoshou zhuyi) were produced. These films, whose modern significance has been overlooked until recently, tended to be treated simply in the traditional narrative of film history.

Hamlet at the Himalayan Border: Frontier Imaginaries in Hu Xuehua’s Prince of the Himalayas and Vishal Bhardwaj’s Haider

ABSTRACT This article discusses Hu Xuehua’s Prince of the Himalayas (2006) and Vishal Bhardwaj’s Haider (2014) across overlapping local, regional and (inter)national imaginaries of Tibet and Kashmir, and considers the possibilities of rendering the story and circumstances of Hamlet legible within these borderland contact zones. With their exotic backdrop of snowy mountains, rugged frontiers and majestic rivers, these two films can be seen recreating a troubling politics of appropriation at a time of renewed tensions in the Himalayan region. I argue that despite using Shakespeare’s cultural capital to depict local conditions and affirm their own political agency, Hu and Bhardwaj’s ultimate rejection of Hamlet’s revenge motif continue to challenge domestic and international viewers, particularly in their attempts to situate these films within a heterogeneous national cinema encompassing minority cultures in New Chinese Cinema and Bollywood respectively.

Analysis of the Close Relationship between Chinese Films and the Economy

Due to the continuous economic development in recent years, there is a phenomenon that people begin to pursue spiritual satisfaction while meeting the basic material needs. Film is an important way of mankind's Daily pastime. As the consumer power in film increases, the economy of film production also develops. This article chose the Huayi brothers, the Light media, Wanda film, Chinese film co., LTD., 4 listed Chinese film and TV making company to analysis the relationship between the economy. Based on their financial statements, revenue expenditure analysis of their income in recent years as well as the spending of filmmaking, this study summarizes the close ties between Chinese movies and economic and carries on the development of some prediction. According to the analysis, China's film and economic relationship is mutual promotion, and after the outbreak of the new champions league era, the development of China's film will continue to accelerate. These results can help people understand more about the development between Chinese film and economy and the development background of Chinese film economy.

The Development and Strategy Analysis of Huayi Brothers

Huayi Brothers Media Co., LTD., once known as the "first stock of Chinese film and television entertainment", has been mired in continuous financial losses since 2018. According to the financial statements of Huayi Brothers in 2021 and the semi-annual financial statements in 2022, Huayi Brothers has been in a state of loss in profit, and there are major flaws in its main business planning. The company had ideas and actions to save the market but to no avail. This article starts with the financial report of Huayi Brothers and discusses the problems exposed in its development. It can clarify the current difficulties faced by the Chinese film industry and list film and television companies and propose appropriate solutions to help the further development of the Chinese film industry and also provide other Film and television companies sounded the alarm.

Learning to Speak Chinese: Defining the Sino-American Film Paradigm

This article proposes a new paradigm, Sino-American film, that is centered on Chinese language in American films. Sino-American films comprise two generations. The First Generation includes Pushing Hands (1993), Take Out (2004), and Saving Face (2004) and is characterized by independent production, limited distribution, and creation during a period when Asian Americans were rarely represented on film. The Second Generation includes The Farewell (2019), Tigertail (2019), Shang-Chi and the Legend of Ten Rings (2021), and Everything Everywhere All at Once (2022) and is characterized by a Hollywood production model, widespread distribution across streaming services, and creation during a period of growing Asian American cultural representation. Sino-American films negotiate both Chinese-language film and Hollywood by focusing on overlooked characters— Chinese-language-speaking Americans. This article contributes to conversations in Chinese film studies and Asian American studies by bringing Asian American film into exchanges with three Chinese film studies paradigms: transnational cinema, Chinese-language film, and Sinophone film. This cross pollination uncovers new areas for further study. Sino-American film demonstrates the importance of Sino-American language, ethnicity, and culture within the subsuming category of Asian American film. Furthermore, pairing Sino-American films with Chinese film studies uncovers a new category of Chinese-language film outside assumed contexts and paradigms.

Rhythmic Vitality: Traditional Aesthetics and the Theoretical Vision of Contemporary Chinese Film Aesthetics

Abstract For Chinese films, the ideal of “rhythmic vitality” (气韵生动, Qiyun Shengdong) pursued by traditional aesthetics is of great significance. Traditional Chinese painting and calligraphy stress the pace of flowing (“similar sounds integrate”) and the rhythm of harmony (“different sounds correspond to each other”). Correspondingly, the aesthetic ideal of rhythmic vitality refers to the awareness of life produced by the cinematic medium during its evolution. However, compared with the aesthetic developments that characterize western cinema, Chinese films should not be content with its current approach, which largely disregards this particular aesthetic ideal. Rhythmic vitality originates from a unique national cosmology and methodology, beginning with the resemblances between appearances and spirit and resulting with the “primordial qi” (元气, Yuanqi) that constitutes all living creatures. It signifies the special aesthetic connection between humans and nature, whereby each are subjects of one another and in complete harmony. Arguably, this aesthetic ideal avoids the subject–object dichotomy of western thought that has prevailed since modern times. Additionally, the unique quality of cinema’s rhythmic vitality involves the use of special footage. Practically, through the use of large (small humans in wider landscape), full (the scene), far (the distance), and long-lens cameras for scenarios depicting intense emotion or conflict, cinema may render the holistic ideal of rhythmic vitality.

Cultural Inheritance and Dissemination of Movies: Taking China´s movies as an Example

This article takes China's movies as an example to explore the cultural inheritance and dissemination of movie. Firstly, the characteristics and value of movies as cultural symbols were introduced, emphasizing the ability of movies as a powerful medium of communication to influence culture. Then an analysis was conducted on the cultural inheritance and dissemination of China's movies, including the historical and developmental characteristics of China's movies, as well as the cultural elements and meanings in China's movies. Subsequently, the inheritance and innovation of Chinese movie culture were discussed, including the presentation and inheritance of traditional Chinese culture in movies, as well as the impact of contemporary social changes on China's movies. Then, specific movie cases were used to analyse the inheritance and dissemination of Chinese movie culture, including the movies "Farewell My Concubine" and "Crouching Tiger, Hidden Dragon". Finally, strategies for the inheritance and dissemination of Chinese movie culture were proposed, including improving the quality of movie creation, perfecting the movie industry system, reforming the movie review system, strengthening international cooperation and exchange, in order to enhance the international status of China´s movies.

The Portrayal and Representation of Mythological Stories in Chinese Cinema in the Digital Age

This scholarly article delves into the dynamic interplay between mythological narratives and digital innovation in Chinese cinema. By scrutinizing the amalgamation of traditional story arcs with modern cinematic techniques, it casts light on how digital advancements enrich narrative complexity and enhance visual allure. The methodology merges traditional film critique with digital analytic tools, underscoring the profound influence of digital technology on storytelling. Central to this discourse are case studies like "Ne Zha," which exemplify the modern reinterpretation of mythological themes. The paper contrasts how mythology is depicted in mainstream versus independent films, shedding light on their distinct narrative approaches. Additionally, the analysis extends to understanding the diverse reception of these mythological stories among domestic and international audiences, with particular attention to motifs of nostalgia and youth. In its concluding section, the article contemplates the wider ramifications for the film industry, explores challenges in audience engagement, and discusses the intricacies of copyright in the digital era.

Semantic Montage: Cognitive Insights for Understanding Film Language in Chinese Context

The article uses Semantic Montage, a cognitive linguist source cited from the idea of montage in film theory, to examine the issue of metaphor in the study of film language in the Chinese context. The researchers created a model for studying film language theory terms, film titles, and film dialogue by combining Semantic Montage and Context. This model addresses an object of study that is distinct from traditional approaches to the study of film language that ignore the issue of metaphor in the field of film studies. The conclusions were as follows: 1.Validate inconsistencies in the Chinese translation of key terms in Christian Metz's film semiotic theory; 2. The model verifies translation errors in film titles; 3. There are three types of semantic montage in the dialogue of contemporary Chinese cinema, all of which need to be analysed in context, not just on a literal level.

Analysis of the Marketing Strategy of China's Film and Television Industry Based on the Background of Media Convergence -- Taking the Film "Wandering the Earth" as an Example

With the continuous development of media convergence, the marketing strategy of China's film and television industry has been constantly enriched, and the marketing and media of the film and television industry have entered an era of deep integration. Media convergence has brought the expansion of communication platform and the innovation of content for the marketing of film and television industry. The film "wandering the earth" has been a great success in the Chinese film market. The publicity team behind it integrates media resources, disseminates high-quality content and makes important contributions to the film box office. Taking "wandering the earth" as an example, this paper uses the theoretical model of integrated marketing strategy to explore the marketing strategy of China's film and television industry under the background of media convergence from four deeper perspectives: content marketing, integrated communication channels, interactive marketing and the development of IP system. Finally, the article combines the existing strategies with future development, and puts forward the problems that need to be improved.