scholarly journals The Current Problems of Aesthetic Creation in Chinese Film Art

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Xing Zhou
Keyword(s):  
Cultural Identities ◽  
Urgent Problem ◽  
Creative Imagination ◽  
Aesthetic Object ◽  
Chinese Film ◽  
Long Run ◽  
Art And Culture ◽  
Market Factors ◽  
Aesthetic Sensibility ◽  
Chinese Films

Abstract Current market-led Chinese film production has made huge achievements. Market indicators certainly have their validity. However, the power of the market has been exaggerated so that it controls everything. Because of the disregard of film as an aesthetic object, the content, form and aesthetic sensibility of films have been neglected, preventing creation at a higher level. The loss of multiple cultural identities due to market factors and artistic indifference is hardly sustainable in the long run. In recent years, Chinese films have gradually improved their artistic aesthetics. How to reasonably coordinate the market and the realization of the value of art and culture itself is an urgent problem to be solved. Firstly, Chinese films should have creative imagination; secondly, Chinese films should have the artistic expression of the national core value of heroism; thirdly, Chinese films should have meticulous depictions of people. Under the perspective of aesthetic appreciation, it is a top priority for Chinese films to be more in line with reality and traditional aesthetic culture, and be more characterized in their creation.

The circulation of Chinese film in New Zealand as a potential platform for soft power

2020 ◽  
Vol 176 (1) ◽  
pp. 78-92
Author(s):  
Ian Huffer
Keyword(s):  
Hong Kong ◽  
New Zealand ◽  
Soft Power ◽  
Overseas Chinese ◽  
Chinese Film ◽  
A Site ◽  
Hearts And Minds ◽  
Chinese Films

New Zealand is one of only a handful of countries worldwide in which Chinese blockbusters are regularly released in cinemas and has also been a site of increasing debate regarding China’s soft power. This article consequently examines the circulation of Chinese films in New Zealand, not only through theatrical exhibition but also non-theatrical channels, and considers how this might build a platform for soft power. It considers the balance between ‘official’ and ‘unofficial’ mainland filmmaking, and between mainland filmmaking and Hong Kong, Taiwanese and diasporic filmmaking, along with the target audiences for these different channels. The article shows that, taken as a whole, the distribution and exhibition landscape for Chinese film in New Zealand builds a successful platform for the People’s Republic of China’s aspirations of winning the ‘hearts and minds’ of overseas Chinese, while also being characterised by clear limitations in reaching non-Chinese audiences in New Zealand.

scholarly journals Measuring Market Power in Professional Baseball, Basketball, Football, and Hockey

2020 ◽  
Vol 65 (2) ◽  
pp. 214-231
Author(s):  
Gerald T. Healy ◽  
Jing Ru Tan ◽  
Peter F. Orazem
Keyword(s):  
Market Power ◽  
Professional Sports ◽  
Revenue Sharing ◽  
The United States ◽  
Local Market ◽  
Period Analysis ◽  
Sports Teams ◽  
Long Run ◽  
Soccer Teams ◽  
Market Factors

Using Forbes magazine’s estimates of the current value and revenues of professional sports teams, we derive a long-run variant of the Lerner Index. We apply the strategy to professional teams in baseball, basketball, football, and hockey over the 2006–2019 period. All teams have positive and significant price-cost margins over the entire period. Analysis of variance shows that local market factors and past team performance have less impact on a team’s market power than do common league-wide effects. The strongest market power is in leagues with more aggressive revenue sharing policies. Price-cost margins are higher for professional teams in North American than for the most valuable European soccer teams, consistent with the stronger exemption from antitrust law in the United States and the weaker revenue sharing policies in Europe. JEL Classifications: L43, L13, L83

scholarly journals Obstacles to Using Chinese Film to Promote China’s Soft Power: Some Evidence from the North American Market

2021 ◽  
Vol 1 (1) ◽  
pp. 205-221
Author(s):  
Stanley Rosen
Keyword(s):  
Soft Power ◽  
Film Industry ◽  
Social Stability ◽  
Liberal Democracies ◽  
Chinese Film ◽  
The North ◽  
Box Office ◽  
North American Market ◽  
Power Scale ◽  
Chinese Films

Abstract China’s use of film to project soft power has been unsuccessful. However, the generation of soft power through its film industry is not China’s highest priority. The pursuit of soft power, including through film, is much more directed toward the domestic audience in China, reflecting the greater importance of political and social stability, along with ensuring the patriotism of youth. Moreover, given the origins of the soft power concept and the methodologies used to evaluate countries on a soft power scale, countries that are not liberal democracies will never be able to score high on any soft power ranking. Using empirical data such as box office figures, and Chinese and Western media sources, it will be shown that the lack of success of Chinese films in overseas markets stems in part from structural reasons beyond China’s control, but also in part because of decisions made by Chinese state officials and the filmmakers themselves.

scholarly journals The Historical Roots and Cultural Core of the Chinese Film School

2021 ◽  
Vol 1 (1) ◽  
pp. 101-113
Author(s):  
Haizhou Wang
Keyword(s):  
Historical Development ◽  
Chinese Art ◽  
Chinese Cinema ◽  
Cultural Characteristics ◽  
Chinese Film ◽  
World Cinema ◽  
The World ◽  
Chinese Films

Abstract Chinese cinema has its own unique features, created through nationally distinct methods. Once revealed, these methods make possible the construction of a unique “Chinese film school.” This article explores the historical development of Chinese film arts in order to uncover general trends along its winding path. While being open to the world, the Chinese film school ultimately returns to traditions in Chinese art as a method to construct a unique theory of Chinese film. This methodology has enabled Chinese films to reflect wider developments in world cinema, while also maintaining distinctive Chinese cultural characteristics.

Intertitle translation of Chinese silent films

Babel ◽  
2020 ◽  
Vol 66 (4-5) ◽  
pp. 719-732
Author(s):  
Jin Haina
Keyword(s):  
Chinese People ◽  
Silent Films ◽  
Negative Image ◽  
Chinese Film ◽  
Translation Quality ◽  
Positive Image ◽  
Hollywood Films ◽  
Chinese Films ◽  
Potential Profit ◽  
Desire To Change

Abstract There is a misconception that film translation did not exist in China before 1949. The paper argues that the translation of Chinese silent films was vibrant in the 1920s and the early 1930s. Most of the extant copies of Chinese films from that period have bilingual intertitles. Chinese film companies have two purposes in translating their productions: the potential profit obtained from international audiences, and the desire to change the negative image of Chinese people portrayed in Hollywood films and project a positive image of China. Driven by these two objectives, Chinese film companies placed considerable emphasis on translation quality and hired both Chinese translators and foreign translators to translate their productions.

Younghusband Redux: Chinese Dramatisations of the British Invasion of Tibet

Inner Asia ◽  
2012 ◽  
Vol 14 (1) ◽  
pp. 195-234
Author(s):  
Robert Barnett
Keyword(s):  
Historical Record ◽  
River Valley ◽  
Red River ◽  
Chinese Cinema ◽  
Television Series ◽  
Chinese Film ◽  
Film And Television ◽  
Red River Valley ◽  
History Of ◽  
Chinese Films

AbstractA film, a television series, four plays and an opera have been produced in China since 1997 dramatising the invasion of Tibet by the British in 1903 04. These works were part of an official effort to enhance patriotic spirit among Chinese and Tibetan people through historical example, as well as an attempt to represent Tibetans as participants in a broader Chinese resistance to Western aggression and humiliation. They coincided with an official call for film-makers to make propaganda more appealing and a decisive turn in Chinese cinema towards commercialised films and Hollywood-style narrative. The paper contextualises these dramatisations and their ideological features within the history of Tibetan representations in Chinese film and television dramas, and discusses foreign critiques of the most influential of the dramatisations of the Younghusband expedition, Feng Xiaonings 1997 film Honghegu (Red River Valley). It notes difficulties with criticisms about the lack of accuracy in these Chinese films, discusses several ways in which they match the historical record, and compares them with the little-known television series Jiangzi 1904.

scholarly journals Love and Duty: Translating Films and Teaching Online Through a Pandemic

2022 ◽  
Vol 1 (2) ◽  
Author(s):  
Christopher Rea
Keyword(s):  
Social Media ◽  
Cultural History ◽  
Online Teaching ◽  
Teaching Online ◽  
Chinese Film ◽  
University Of British Columbia ◽  
Video Lectures ◽  
English Translations ◽  
The University ◽  
Chinese Films

The Chinese Film Classics project, launched in 2020, is an online research and teaching initiative aimed at making early Chinese films and cinema history more accessible to the general public. Led by Christopher Rea at the University of British Columbia, the project is centered on the website http://chinesefilmclassics.org and the companion YouTube channel Modern Chinese Cultural Studies. These two platforms together host new English translations of over two dozen Republican-era Chinese films, over two hundred film clips organized into thematic playlists, and a free online course of video lectures on Chinese film classics. This essay tells the story of how the Chinese Film Classics project grew from being a book project into a multiplatform translation, teaching, and publication project during the COVID-19 pandemic. Online teaching and social media publication involved multiple global storytellers: filmmakers, educators, translators, students, and the broader Internet public. How might moving things online change, or improve, the practice of cultural history? Rea highlights in particular the practical considerations facing the translator and gives examples of how, in a social media context, some of the stories are told not by creators and audiences but by data analytics.

scholarly journals 16th SHANGHAI INTERNATIONAL FILM FESTIVAL

2014 ◽  
Author(s):  
The Editor
Keyword(s):  
Film Festival ◽  
Mainland Chinese ◽  
Chinese Film ◽  
Oliver Stone ◽  
Dynamic Growth ◽  
Chinese Films

16th SHANGHAI INTERNATIONAL FILM FESTIVALShanghai is playing an interesting hand early into its tenure as China’s most established festival, shaped by the Chinese film industry’s dynamic growth and the Beijing International Film Festival’s upstart claim for national preeminence. It could play its ace in promoting Mainland Chinese films, yet Shanghai hasn’t exploited this potential. This leaves Asian programming as its next best card, but Asian films at its 16th edition (15–23 June 2013) lacked range and vigour, especially in its fevered Japanese and Thai line-ups. Retrospectives felt more visible this year: apart from ones dedicated to Alfred Hitchcock, Ozu Yasujiro, Oliver Stone and Tang Xiaodan, Shanghai paid a nine-film tribute to the late singer-actor Leslie Cheung on his tenth anniversary. But organizers denied the same courtesy to Anita Mui, an equally talented hyphenate who also died in 2003, and whose amity and working rapport with Cheung certainly...

scholarly journals Shanghai 2013

2013 ◽  
Author(s):  
Brandon Wee
Keyword(s):  
Mainland Chinese ◽  
Chinese Film ◽  
Oliver Stone ◽  
Dynamic Growth ◽  
Chinese Films

SHANGHAI 2013 Shanghai is playing an interesting hand early into its tenure as China’s most established festival, shaped by the Chinese film industry’s dynamic growth and the Beijing International Film Festival’s upstart claim for national preeminence. It could play its ace in promoting Mainland Chinese films, yet Shanghai hasn’t exploited this potential. This leaves Asian programming as its next best card, but Asian films at its 16th edition (15–23 June 2013) lacked range and vigour, especially in its fevered Japanese and Thai line-ups. Retrospectives felt more visible this year: apart from ones dedicated to Alfred Hitchcock, Ozu Yasujiro, Oliver Stone and Tang Xiaodan, Shanghai paid a nine-film tribute to the late singer-actor Leslie Cheung on his tenth anniversary. But organizers denied the same courtesy to Anita Mui, an equally talented hyphenate who also died in 2003, and whose amity and working rapport with Cheung certainly justified a shared tribute....

scholarly journals A Comparative Study of English and Chinese Film Title Translation——from the Perspective of "Four Values"

2020 ◽  
Vol 3 (4) ◽  
pp. p120
Author(s):  
Jialiang Chen
Keyword(s):  
Comparative Analysis ◽  
International Markets ◽  
Target Language ◽  
Functional Equivalence ◽  
Evaluation Standard ◽  
Chinese Film ◽  
Common Trend ◽  
Box Office ◽  
Cultural Exchanges ◽  
Chinese Films

With the deepening of cultural exchanges between China and western countries, interaction and dissemination of film works have become a common trend. A film title is the "eye" of a film; therefore, concerning the differences between English and Chinese languages, film title translation should not only convey necessary information about the films to the corresponding audience in the target language, but also arouse the interest of the audience to achieve a satisfactory box office. Based on the theories of functional equivalence and communicative translation, and especially the evaluation standard of film title translation—the realization of "four values", the thesis makes a comparative analysis of English and Chinese in film title translation and evaluates it with evidence from the successful experience of C-E (Chinese to English) and E-C (English to Chinese) film title translation from 2016 to 2019 in order to provide references for C-E film title translation under three translating techniques, thus promoting the value of title translation and the entrance of Chinese films to international markets.

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