Chinese Cinema Research Articles

The Representation of Females in TV Drama: Taking Nothing But Thirty as Cases

The topic of this thesis is to study the performances of female characters in the TV series Nothing But Thirty. The goal is to see if they deconstruct and reimagine female characters' roles in Chinese film and television works. Today, with advances in mass media technology, feminism has become a public issue. In the wake of the #MeToo movement in 2017, there is an emerging trend in the portrayal of women in film and television. The visible presentation of the female image is inseparable from mainstream ideology. Given that Nothing But Thirty can be considered a female-dominated show, it would be interesting to examine the way women are represented on TV. This will help further promote the study of female representation in film and television.

A Study on the Translation Strategies of Chinese Culture-loaded Words: Taking the Subtitle Translation of the Film " Big Fish& Begonia " as an Example

Chinese animation film originated in the 20th century, and after a difficult process of exploration, it gradually developed in the 21st century. It is well known that film is one of the most widespread and influential art forms, and Chinese animated films are, as a rule, more loaded with numerous traditional Chinese cultural elements than ordinary films. Therefore, launching Chinese movies out of China is an effective way to spread China's excellent traditional culture, translation of culturally loaded words in movie subtitles determines whether the cultural export will be successful. On this premise, this paper will take the Chinese animated film Big Fish & Begonia as an example, analyze the translation strategies of culturally loaded words in the context of the characteristics of subtitle translation, summarize the desirable features of the translation strategies adopted, and at the same time point out the shortcomings and propose modifications to inspire the use of culturally loaded words translation strategies in the subtitles of Chinese animated films in the future, to promote the dissemination of excellent Chinese traditional culture.

Do unique names fit people for creative work? Implications for job recruitment, name change, and product evaluation

AbstractUnique names have commonly been viewed as undesirable. However, our studies (total N = 6049) suggest the opposite: unique names are perceived as favourable to creativity in occupational contexts. Generally, people held a perception that unique‐named individuals are more creative (albeit less likable) and therefore more suitable for jobs requiring greater creativity (Studies 1–2). Accordingly, participants tended to select candidates with more unique names for creative positions (Study 3) and recommend more unique names to workers in creative jobs for a name change (Study 4). Furthermore, real‐world archival data revealed that artists (typical creative professions) tended to adopt more unique new names, which was replicated cross‐culturally in American, British, and Chinese samples (Study 5), and that Chinese movie directors with more unique names received higher evaluations for the movies they directed (Study 6). Our findings demonstrate a novel form of name stereotype and its behavioural manifestations and real‐world consequences.

On the Chinese-English Subtitle Translation of Five Hundred Miles from the Perspective of Skopos Theory

Film and television works play a significant role in cultural exchanges between countries. In recent years, more and more outstanding Chinese films and TV works have been transmitted to foreign countries and have been well received by foreign audiences, and the comedy film Five Hundred Miles, released during the Chinese Spring Festival in 2023, is a fantasy comedy film that has achieved widespread acclaim from audiences at home and abroad. In the process of transferring domestic films to foreign countries, subtitle translation attaches great importance. The quality of subtitle translation directly affects the understanding of the content for foreign audiences and the influence of Chinese culture in the international arena. This study analyses the Chinese-English translation of the subtitles of Five Hundred Miles under the guidance of the three principles of Skopos theory, so as to provide value for translators in the future translation of film subtitles.

Retracted: Visualization Practice and Communication Effect of Digital Chinese Films Based on Virtual Reality under Background of the Belt and Road Initiative

Retracted: Visualization Practice and Communication Effect of Digital Chinese Films Based on Virtual Reality under Background of the Belt and Road Initiative

Research on the Symbolic Expression of Film Visual Art Directed by Chinese Director Zhang Yimou

As the leader of the fifth generation of directors in China, Zhang Yimou leads Chinese films to the world in the new era. He is an outstanding representative of Asian films and a world-renowned film master. This paper takes visual art as the tool and mainly studies the symbolic expression of Zhang Yimous film. The research allow readers to access the Chinese classic film symbol and Zhang Yimous personal characteristic film symbol by analogy Zhangs several films. Through the online research on Douban and Zhihu, the author made a brief appreciation of the visual language features of Zhang Yimous two films To Live and Red Sorghum with the highest score and voice.The author makes some discussions on the composition characteristics, techniques and creation style of Zhang Yimou's films. On the one hand, the author believes that Zhang Yimou and his films are deeply influenced by the structure of traditional Chinese aesthetics. Zhangs film not only display grand Chinese aesthetics in the structure of the picture, but also intersperse many unique Chinese meanings in the film. From the creative technique, Zhang is good at using scenes to foil atmosphere and allude to the characters fate. On the other hand, Zhang Yimous typical male chauvinist creation style is reflected in many aspects of his film, such as female stereotypes, improper male gaze.

Financial Investment Analysis of the Chinese Film Industry in the Post-epidemic Era

With the deepening of the reform of China's market economy development system and the establishment of the orientation of cultural industrialization development, China's film industry has gained unprecedented opportunities and opportunities for industrial development. At present, China has become the second largest film market in the world. Based on the pursuit of profits in the film industry, a large amount of capital has flooded into the Chinese film industry, and the scale of film investment and financing has been expanding. At the same time, the economic downturn in China and the world since the pandemic in 2020 has put great pressure on the film industry. Therefore, how to better finance film investment in the post-pandemic era has become a big problem. By literature analysis, this paper analyzes the financial investment environment of China's film industry and the development status of China's film finance, finds out the investment path and effectiveness of China's film and draws some suggestions for the future development of China's film finance.

Portfolio Optimization for Entertainment Industry in Chinese Capital Market

Building an investment portfolio is one of the most common ways for investors to hedge their risks. This paper examines the investment market in China's film and entertainment industry by selecting five leading A-share companies in the film and entertainment industry. Five representative stocks from these industries were selected for analysis in this paper: Guomai Culture & media Co., ltd., Beijing Funshine Culture Media Co., Ltd., Mango Excellent Media Co., Ltd, ZHEJIANG HUACE FILM & TV CO., LTD, Alpha Group. The closing price data of these five stocks in the past year were selected and 4000 different portfolios were simulated using the Monte Carlo simulation method. Then, the mean-variance model was used to select the portfolio with the maximum Sharpe ratio and the portfolio with the minimum variance. After the weights of the two groups of assets are obtained, this paper uses the actual income data for the last month to test the performance of the portfolios. The results show that ZHEJIANG HUACE FILM & TV CO. have the largest weights in both the maximum Sharpe ratio model and the minimum variance ratio model, but the evaluation of the weights shows that the large-cap results perform better than the above model.

The application of digital media art in film and television animation based on three-dimensional interactive technology

Abstract As an emerging product of the rapid development of science and technology in the era of big data, digital media art is the application of various technologies, such as computer processing and digital special effects in film and television animation creation. This paper firstly takes digital media art as the research base and discusses the path of advancing digital media art in film and television animation. Secondly, the Web 3D interaction technology in digital media art is applied to the model building and animation generation of film and television animation, and the human body movements are captured to get the form reconstruction to generate SMPL human model parameters. Finally, a three-factor repeated measurement experiment and ablation experiment verified the feasibility and effectiveness of applying digital media art to film and television animation. The results show that the interaction of AOS and TT has a significant main effect on the total interaction time MT and F(15,43.213) = 62.329. In the ablation experiment, the increase points are 1.98, 1.63, and 1.52, which are greater than 1.5 on average. The application of digital media art to film and television animation proposed in this paper verifies the scheme’s feasibility through the ablation experiment and the three-factor repetition test. It also lays the foundation for the international development of Chinese film and animation.

Laughing Mechanism and Social Value of Chinese Black Comedy Films——From the Perspective of Bergson's Comedy Theory

This article aims to explore the mechanism of laughter and social functions of Chinese black comedy films from the perspective of Bergson's comedy theory. As a popular comedy subgenre in the Chinese film market, black comedy films combine dark and absurd tragic themes with comedy forms to form a unique film style. By using Bergson's comedy theory, while analyzing the comedy and the production mechanism of laughter in Chinese black comedy films, it also analyzes the social functions and cultural values of black comedy films, and explains how to use universal comedy techniques to empower them Black themes are accepted by the current Chinese society, providing some useful ideas and perspectives for further understanding of the creation and appreciation of Chinese black comedy films.

Freedom is like flying a balloon, —— Take Mongolian Spirit and Balloon as examples to explore the evolution of female images in ethnic minority films in the modern context

As a unique and indispensable part of Chinese films, minority films have been trying to show the ethnic cultures from different perspectives in the decades of development. Great changes have also taken place in the situation and image shaping of minority women. This paper will take "Mongolian spirit", "balloon" and other minority film image of female, for example, from the minority female plight, female roles, nomadic image inheritance and change in three aspects, the analysis since the 1990s national film women situation and the image of change, explore the national culture inheritance and change, and modern and traditional ideas collision of the minority people's ideas.

Screening international queer cinema in China

ABSTRACT Given the restricted number of foreign films which can be officially screened in Mainland China and restrictions on the portrayal of LGBTQ+ characters in visual media, international queer cinema tends to be screened at non-theatrical events such as film festivals, film clubs and café screenings. Building on existing work on Chinese film festival studies, this article draws attention to the wider ecosystem of screening practices in China, which engage with international queer film culture through their choice of films and also their mediations of LGBTQ+ cultures. Drawing from ethnographic fieldwork, this article examines how such events navigate language difference through translation, how they engage audiences through discussion or other means, and how they participate in the pink economy. The sorts of negotiation of meaning taking place demonstrate the complexity of transcultural queer cinema practices. The reception of films in translation leads to a notion of queer cinema in China as a cosmopolitan but local activity that contributes to local worldmaking practices.

Audience reception of translated classic films: Zhang Yimou’s Hero in the digital English world

ABSTRACTAgainst the backdrop of cultural globalization, more and more Chinese films are being introduced to the Anglophone world, and Zhang Yimou’s Hero is a particularly informative case because of its huge success. The present study describes and analyzes the reception of Chinese films in the Anglophone world by conducting an in-depth case study of Hero. Drawing on sentiment analysis and corpus-based keyword analysis, we find that Hero received a positive response from both professional and general audiences in four aspects. For character, both groups preferred the complex political characters, love-hate relationships, and certain Chinese actors/actresses. For plot, both groups valued Chinese elements and the wuxia genre. Regarding the scene, both groups enjoyed the fight scenes, but the professional audiences highlighted the aesthetic value of each scene while the general audiences expressed their feelings about the beauty of the piece as a whole. Finally, in terms of translation, the professional audiences focused on the quality of subtitles, while the general audiences highlighted the modality, preferring dubbing to subtitles. This positive but differentiated reception between professional and general audiences can be attributed to cultural discounting, cultural hybridity, cultural memory, translation modalities and translation quality.

Review: Chinese Film: Realism and Convention from the Silent Era to the Digital Age, by Jason McGrath

Review: <i>Chinese Film: Realism and Convention from the Silent Era to the Digital Age</i>, by Jason McGrath

「荊軻刺秦王」에 나타난 두 개의 이미지

Wuxia is a great cultural archetype with a unique tradition in Chinese history. As a fifth-generation director, Chen Kaige is a leading figure in Chinese cinema. In 1998, he directed the large-scale wuxia historical drama「荊軻刺秦王」, the movie was produced in 1969. Although the movie was not successful at the box office, it reflected his unique sensitivity. Through the characters 荊軻, 秦王, and 刺, he conveyed the image of council and heroism. What director Chen Kaige sought to portray in the film is not just the greatness of Qin Shi Huang, who kills to unite the seven heroes of the nation, or to fulfill his personal desires, but a human spirit with a sublime ideal of saving the people of the world who are suffering and groaning from the war that he has always held in his heart. Here, we saw the poor King of Qin, who had no choice but to lose his own in order to achieve the great unification of the world, not the hero, King of Qin who had been well-known.

중국 내셔널리즘과 ‘동북(東北)’ 표상 : 영화 [양징위(楊靖宇)]와 [장진호(長津湖)]를 중심으로

중국 내셔널리즘과 ‘동북(東北)’ 표상 : 영화 [양징위(楊靖宇)]와 [장진호(長津湖)]를 중심으로

한중 범죄 영화의 표상 비교 연구 : 한국 영화 "베테랑"(2015)과 리메이크 중국 영화 "대인물(“大”人物)"(2019)을 중심으로

한중 범죄 영화의 표상 비교 연구 : 한국 영화 "베테랑"(2015)과 리메이크 중국 영화 "대인물(“大”人物)"(2019)을 중심으로

Modernization of Chinese Film: Nationality, Periodicity, and Current Issues

Abstract The nationality of modernization of Chinese film focuses on the concept of yingxi (影戏, the name for film in Chinese early years), family ethic, classical intellectual traditions, legendary stories, and “lingering favor” (yuwei 余味). The periodicity of modernization of Chinese film can be divided into three periods: the modernization of Chinese film phase I, the modernization of Chinese film phase II, and the modernization of Chinese film phase III, respectively representing how the Chinese nation has stood up, grown prosperous, and become strong. The current issues for modernization of Chinese film lies in expressing the five dimensions of the Chinese path to modernization, and the ongoing advancement of the modernization of Chinese film III. Chinese film studies should also seize this new opportunity to reexamine itself.

Constructing a Theoretical System for Chinese Films and Television: A Review of Academic Views of China’s Mainstream Film and Television Since 2017

Abstract Since 2017, new achievements have been made in the field of mainstream Chinese films and television: specifically, in the interpretation of strategic policies, research on creation and production, and foundational theoretical research. These achievements have chiefly been embodied in the following areas: reaching historical achievements and changes in comprehensive, systematic and in-depth interpretation and analysis of China’s mainstream films and television; focusing on the creative practices, innovations and trends in China’s mainstream films and television; elucidating the remarkable characteristics of development; distilling the Chinese school and Chinese model; proposing a series of original academic discourse; forming a series of important theoretical achievements; and completing the first stage of constructing a system for Chinese films and television in the new era.

Coming Home (2014) and Its Symptoms

This paper is an in-depth analysis of the Chinese movie Coming Home (2014), which mimics the way trauma works and brings the problem of memory into focus. I draw on a psychoanalytic perspective to interpret the storyline, characters, and metaphoric meaning embedded in the construction of the film. My analysis focuses on three symptoms displayed: forgetting, repetition, and historical void. As the most successful Cultural Revolution-related film in the Chinese-speaking world, Coming Home confronts the phenomenon of cultural amnesia and visualizes the subjective experience of struggling to remember.