General History of Chinese Film III

2021 ◽  
Author(s):  
Ding Yaping ◽  
Translated by Jin Haina
Keyword(s):  
Chinese Film ◽  
History Of

scholarly journals A Few Issues Surrounding Research into the General History of Chinese Film

2021 ◽  
Vol 1 (1) ◽  
pp. 83-99
Author(s):  
Yaping Ding
Keyword(s):  
Film History ◽  
Scientific Discipline ◽  
History Writing ◽  
Chinese Film ◽  
Comprehensive View ◽  
Broad Scope ◽  
History Of

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.

National and Cosmopolitan Elements of Chinese Film Forever Young and Cross-Cultural Communication

2020 ◽  
Vol 3 (11) ◽  
pp. 154-160
Author(s):  
Yuan Zheng ◽  
Hua Jing
Keyword(s):  
Cross Cultural ◽  
Cultural Communication ◽  
Artistic Style ◽  
Cross Cultural Communication ◽  
Chinese Film ◽  
Historical Film ◽  
Sensitive Topics ◽  
Communication Effects ◽  
History Of ◽  
Narrative Techniques

As an "atypical" historical film released in recent years, the film Forever Young gives up the usual grand narrative angle and pays attention to the small potatoes. It pieces together and links the hundred-year history of China's struggle and self-improvement through a "messy" and "broken" cross-narrative method and a consistent theme of "being true to yourself”. This paper analyzes the national and cosmopolitan elements reflected in the film and explores the acceptance in both domestic and foreign markets, indicating the weakness of contemporary Chinese films in the process of cross-cultural communication. It has been found out that the elements of nationalism are mainly embodied in three aspects, hundred years historical changes of China, oriental core values and oriental implicit artistic style and that the elements of cosmopolitanism are reflected in its narrative techniques, characterization and the theme.Based on the analysis of the weakness of  this film in cross-cultural communication, this paper suggests that it should avoid dealing with sensitive topics and obscure values for better cross-cultural communication effects.

General History of Chinese Film I

2021 ◽  
Author(s):  
Ding Yaping ◽  
Jin Haina
Keyword(s):  
Chinese Film ◽  
History Of

Between translation studies and adaptation studies: Via the case of Li Shaohong’s cinematic domestication of Gabriel García Márquez’s Chronicle of a Death Foretold

2020 ◽  
Vol 13 (3) ◽  
pp. 223-236 ◽  
Author(s):  
Xiaohu Jiang
Keyword(s):  
Rural Areas ◽  
Translation Studies ◽  
Cultural Tradition ◽  
Source Text ◽  
Adaptation Studies ◽  
Chinese Film ◽  
Cultural Roots ◽  
History Of ◽  
The Common

This article investigates the Chinese director Li Shaohong’s film Bloody Morning (1992), which was adapted from Gabriel García Márquez’s novella Chronicle of a Death Foretold (1981), and the Chinese philosophical and cultural tradition that shaped this case of adaptation. By incorporating the Colombian story, Li Shaohong expressed her concern about China’s backwards rural areas. Her adaptation localizes and incorporates the foreignness of the source text to meet the ideological and aesthetic horizons of expectation and the common concerns of her Chinese audience. This article argues that the director’s domestication has its philosophical and cultural roots in China’s history of war against foreign aggression, although the Chinese film has nothing to do with war against foreign powers.

scholarly journals Mainstream Film Production in a Country on the Cusp of Change

2019 ◽  
Vol 8 (2) ◽  
pp. 63-88
Author(s):  
Julian Ward
Keyword(s):  
Film Industry ◽  
Subsequent Development ◽  
Open Letter ◽  
Short Article ◽  
Chinese Film ◽  
Army Officer ◽  
Chinese Studies ◽  
Communist China ◽  
History Of ◽  
Narrative Forms

In June 1984, the journal Dianying pingjie (Film Criticism) published a short article titled “An Open letter to the August First Film Studio”, written by an army officer called Xu Gewei, in which he described The Colourful Night, The Last Military Salute and Star of the Battleground, three of the studio’s recent productions, as mediocre, inept and crudely made. This paper will look at the three films in the context of the early 1980s, a period in the history of filmmaking in Communist China, which, in spite of being critical for the subsequent development of the Chinese film industry, still receives comparatively little attention. The paper will show how, although the films rely for the most part on out-moded techniques and narrative forms, there are moments that display an interest in new film techniques and reveal an understanding of the evolving world of China in the early 1980s. At time of publication of this article, the journal operated under the old name. When quoting please refer to the citation on the left using British Journal of Chinese Studies. The pdf of the article still reflects the old journal name; issue number and page range are consistent.

Riding Off into the Sunrise: Genre Contingency and the Origin of the Chinese Western

PMLA ◽  
2007 ◽  
Vol 122 (5) ◽  
pp. 1482-1498 ◽  
Author(s):  
Daniel Fried
Keyword(s):  
Cultural Revolution ◽  
Major Part ◽  
Entertainment Industry ◽  
Cultural System ◽  
Chinese Film ◽  
The Past ◽  
Production History ◽  
History Of ◽  
Chinese State ◽  
Critical Imagination

The paradoxical dependence of genre histories on historically accidental acts of naming and on transcendental critical imagination is demonstrated by the Chinese western, a little-understood genre that has become a major part of Chineselanguage cinema over the past two decades. After the genre was proposed in 1984 by the Chinese film theorist Zhong Dianfei, as a realist reaction against the ideological excesses of the Cultural Revolution, its ambiguous status as a Hollywood import quickly became a proxy for larger cultural battles over China's place in an American-dominated international cultural system. Moreover, despite assurances by Zhong and other critics that the genre was not susceptible to Hollywood influence, the production history of the genre from the late 1980s to the present demonstrates a pattern of generic influence and eventual fusion that tracks Chinese state-owned studios' evolution from subsidized propaganda organs to participants in a globalized entertainment industry.

scholarly journals Liu Na’ou And The 1930s Soft Film Movement: A New Approach In Revisionist Chinese Film Historiography

2013 ◽  
Vol 2 (2) ◽  
pp. 66-81
Author(s):  
Donna Ong
Keyword(s):  
Entry Point ◽  
New Approach ◽  
Avant Garde ◽  
Discursive Formation ◽  
Chinese Film ◽  
The People ◽  
History Of ◽  
Cultural Connections ◽  
Western Film ◽  
Liu Na'ou

This essay analyzes how the 1930s Chinese “Soft Film” movement emerged and developed in film historiography, and finds it is a discursive formation by the Leftists to create an ideological enemy that serves to define its own group’s identity through a struggle against an “other”. It challenges the naming of “Soft Film” through examining documents beyond the official archive. Unearthing the film writings of Liu Na’ou as the movement’s leading figure is a good entry point into excavating the history of the people and films associated with the label “Soft Film”. Reconstructing this “reactionary cinema” will reveal previously unknown cultural connections with classical and avant-garde Western film theories, and more importantly renovate the established Chinese film canon of the 1930s.

Sign in / Sign up

Export Citation Format

Share Document