Review of the Hot Issues in Chinese Film in 2016

2017 ◽  
Vol 30 (1) ◽  
Author(s):  
Xing Zhou
Keyword(s):  
2018 ◽  
Vol 14 (3) ◽  
pp. 251-284
Author(s):  
김서운 ◽  
HyoIn Yi
Keyword(s):  

SAGE Open ◽  
2020 ◽  
Vol 10 (4) ◽  
pp. 215824402098330
Author(s):  
Chi-Wei Su ◽  
Lu Liu ◽  
Kai-Hua Wang

This article investigates bubbles in the Chinese film industry to reveal the industry’s boom and bust process that influences employment, citizen’s livelihoods, and even economic growth. We adopt the film stock index to reflect the industry’s trajectory and employ the generalized and backward sup augmented Dickey–Fuller tests to detect bubble periods. Empirical results indicate that there are three positive bubbles in 2007, 2013, and 2015, indicating that the film market continues to expand after temporary frustrations. Meanwhile, one negative bubble is found in 2019, which demonstrates that the bubble’s negative impacts persist and the film industry is still having problems such as declining industrial output. Economic growth, film quality, and industrial policies are common factors for all bubbles. The global financial crisis, capital in- and outflows, internet giants’ entry and sky-high remuneration are reasons for certain bubble behaviors. Hence, market practitioners should actively recognize bubbles and observe their evolution, which will favor industrial stabilization. A perfect legal system, moderate industrial policies, a competitive market environment, and other measures are needed to confront the opportunities and challenges.


2021 ◽  
Vol 1 (1) ◽  
pp. 83-99
Author(s):  
Yaping Ding

Abstract The practice of film history highlights the value and significance of the researcher. A more comprehensive view of the situation of film history raises several issues. General research into the history of film is directly related to the production of film history. The question of how to reinvent general film history research is necessarily connected to ideologies, cultures, systems and concepts, as well as the broad scope and complexity of film history. Writing a general history of Chinese film demands a combination of innovation and continuing tradition, with an emphasis on the construction of a rational and scientific discipline of film history and historical empiricism. The aim should be a more rational history. The paper expresses my own thoughts and efforts with respect to relevant issues and attempts to deepen and open up general research into the history of Chinese film.


Continuum ◽  
1998 ◽  
Vol 12 (1) ◽  
pp. 91-103 ◽  
Author(s):  
Stephanie Donald
Keyword(s):  

Asian Cinema ◽  
2010 ◽  
Vol 21 (2) ◽  
pp. 25-47 ◽  
Author(s):  
Charlotte Setijadi-Dunn ◽  
Thomas Barker
Keyword(s):  

2021 ◽  
Vol 3 (4) ◽  
pp. 19-24
Author(s):  
Heqiang Zhou ◽  
Lei Que

With the in-depth influence of 5G technology on film art, the postmodern culture contained in it is also becoming more and more obvious. Understanding the context of the 5G era and clarifying the origin of film postmodernism culture will help us deeply analyze the cause of the rise of postmodernism film culture, especially the important influence of the expansion of film application scenes, the innovation of the whole industry chain and the evolution of film aesthetics on the rise of postmodernism film culture. In addition, we should also think deeply about the film culture under the post-modernism of 5G era, and explore the way to stick to the benign development of film creation and film industry. To enhance our cognition and appreciation of post-modern film culture, to give play to the positive factors of post-modern film culture, and to promote the healthy and prosperous development of Chinese film production, creation and industry.


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