Xia Yan and the Chinese School of Film

A revolutionary, film theorist, and screenwriter, Xia Yan (1900–1995) is known as one of the pioneers of Chinese cinema. Xia’s pursuit of a national style and international status for Chinese cinema and his aspirations for the prosperity of the Chinese nation are in line with the basic ideas and goals of the nascent “Chinese School of Film.” In the context of the under-theorized and problematic production practices of current Chinese cinema, it is high time to revisit Xia’s professional and academic contributions to cinematic art, which shed light on the construction of both the “Chinese School of Film” and “shared aesthetics.”

From Mao Zedong to Xi Jinping: China towards a New Era

China is a large socialist developing country, and the CPC is the core force chosen by the Chinese people to lead it. Mao Zedong was the creator of the Communist Party of China and the People's Republic of China. He led the Chinese people to complete the cause of liberation, carried out socialist construction and began to march toward modernization, forming the great Mao Zedong Thought. Xi Jinping inherited Mao Zedong Thought. He put forward the strategic vision of realizing the Chinese Dream, the great rejuvenation of the Chinese nation. In the new international environment and under the new historical conditions, Xi Jinping has formed a series of highly relevant and continuous theoretical thoughts. His theoretical thoughts have become the guiding ideology for China to become prosperous and strong and make greater global contributions. This paper Outlines the historical process of China from Mao Zedong to Xi Jinping and discusses Xi Jinping's main theoretical ideas.

The Status of Chinese National Theoretical Discourse System and Its Correlation With Psychological Education of College Students

In recent years, in the face of new situations and problems in society, the discourse system, academic concepts, and related research perspectives of Chinese national theory have been strongly impacted by Western thought, making the discourse mode of western national theory become the second discourse system outside the traditional Chinese national theory. In order to further promote the construction of the Chinese national discourse system in college students' mental health education systems, the study first starts with the concept of national theory and discourse system and then uses the literature method to consult the development status of the Chinese national theoretical discourse system and the mental health education of college students. The results show that students' grade is directly proportional to the satisfaction of students with mental health education, that is, with the increase of grade, students are more and more satisfied with mental health education. The attendance rates of college students, high school students, junior middle school students, and primary school students are about 98, 87, 81, and 78%, respectively. In addition, students who are willing to actively accept psychological education account for about 38% of the total number of students, those who do not refuse account for 51% of the total number of students, and those who are unwilling to accept account for 11% of the total number of students. Among these students, their acceptance of mental health education will not be affected by other factors. Furthermore, the satisfaction score of college students with mental health education is about 4.1, the satisfaction score of high school students is about 3.6, the satisfaction score of junior middle school students is about 2.9, and the satisfaction score of primary school students is about 2.1. It reveals that the degree of satisfaction with mental health education is also related to grade. While taking mental health education courses, students not only realize a comprehensive understanding of the theory of the Chinese nation, but also greatly improve their national self-confidence and psychological quality. Moreover, it also strengthened by disseminating the theoretical discourse of the Chinese nation. Therefore, the exploration is of great significance to the development of the Chinese national theoretical discourse system in the psychological education of college students.

An Analysis of Translation of War Literature in Journals (1931-1945)

The victory of the China’s War of Resistance against Japanese Aggression is of great significance to the whole Chinese nation because it is the first time in nearly a century that the Chinese people have won a complete victory against imperialism. A large number of translations of foreign war literature were published in anti-war periodicals. However, domestic scholars have not paid enough attention to the study of war literature translation in Anti-Japanese war periodicals, so the research results are relatively few. This paper researches the translation of war literature in three periodicals of the war period (The Anti-Japanese War Literature and Art, The Weekly Digest and Translation Series: A Comprehensive Translation of English Newspapers and Magazines), including a survey of the sources of the translations, the translators, the main ideas of the translations, the translation techniques and their significance. The study found that the translation introductions of war literature from these periodicals penetrated the readership of the public, enhanced the confidence of the nation in the victory the China’s War of Resistance against Japanese Aggression, promoted the awakening of the whole nation, inspired the people of the nation to join in the Anti-Japanese War, and made a special contribution to the victory of the China’s War of Resistance against Japanese Aggression.

The Hero Fallen: Zhang Yimou and the Question of Unstable Authorship

<p>When Zhang Yimou’s film, Hero (2002), was released it was one of the most successful Chinese films ever screened in American theaters. While many critics applauded the film’s aesthetics, other reviewers condemned the film for undermining the political potency of Zhang’s early films and promoting a fascist ideology. The interpretation of Hero as fascist propaganda has incited a controversy over the reception of the film that has penetrated academic as well as journalistic circles. A close look at this controversy reveals that there has been a tendency in the West to read a film and filmmaker in a manner predetermined by where they are from and the discourse that already exists. This ‘auto-reading’ or ‘auto-positioning’ tendency is symptomatic of a reliance on discourses of authorship and national cinema. The manner in which these discourses have permeated the way that the West has responded to Zhang and his films has given rise to three ‘recurring motifs:’ aesthetic virtuosity, cultural authenticity, and national politics. These motifs are characteristics which have been repeated so often that they became defining qualities of his authorship and have often determined the interpretation of his films. This thesis involves a mapping of the critical reception of Hero and the way it relates to Zhang’s prior work, his auteur status, and his relationship to the Chinese nation-state. Specifically, this thesis examines how the discursive reception of Zhang’s career and films provided the context out of which emerged the framework that justifies reading the film as fascist. Tracing the recurring motifs throughout the Western reception of Zhang’s films reveals the problematics of the reliance on the discourses of authorship and national cinema. This thesis will also explore Hero directly to investigate how the film’s ambiguities have contributed to the reading of the film as fascist but also how ambiguity facilitates the potential to interpret other meanings in the film.</p>

The Hero Fallen: Zhang Yimou and the Question of Unstable Authorship

<p>When Zhang Yimou’s film, Hero (2002), was released it was one of the most successful Chinese films ever screened in American theaters. While many critics applauded the film’s aesthetics, other reviewers condemned the film for undermining the political potency of Zhang’s early films and promoting a fascist ideology. The interpretation of Hero as fascist propaganda has incited a controversy over the reception of the film that has penetrated academic as well as journalistic circles. A close look at this controversy reveals that there has been a tendency in the West to read a film and filmmaker in a manner predetermined by where they are from and the discourse that already exists. This ‘auto-reading’ or ‘auto-positioning’ tendency is symptomatic of a reliance on discourses of authorship and national cinema. The manner in which these discourses have permeated the way that the West has responded to Zhang and his films has given rise to three ‘recurring motifs:’ aesthetic virtuosity, cultural authenticity, and national politics. These motifs are characteristics which have been repeated so often that they became defining qualities of his authorship and have often determined the interpretation of his films. This thesis involves a mapping of the critical reception of Hero and the way it relates to Zhang’s prior work, his auteur status, and his relationship to the Chinese nation-state. Specifically, this thesis examines how the discursive reception of Zhang’s career and films provided the context out of which emerged the framework that justifies reading the film as fascist. Tracing the recurring motifs throughout the Western reception of Zhang’s films reveals the problematics of the reliance on the discourses of authorship and national cinema. This thesis will also explore Hero directly to investigate how the film’s ambiguities have contributed to the reading of the film as fascist but also how ambiguity facilitates the potential to interpret other meanings in the film.</p>

The Leadership of the CPC and the Great Rejuvenation of the Chinese Nation

To realize the great rejuvenation of the Chinese nation, we must adhere to the leadership of the CPC. The nature and purpose of the Party determine that only by adhering to the leadership of the CPC can we organize and mobilize the people, create a stable environment, and finally achieve the glorious goal of people's happiness. Guided by Marxism, the CPC constantly promotes theoretical innovation, which can gather the ideological consensus of realizing national rejuvenation. The road of socialism with Chinese characteristics led by the CPC is the only way to realize the great rejuvenation of the Chinese nation.

A Brief Analysis on the Mission of Youth of the New Era

Socialism with Chinese characteristics has entered a new era, marking the beginning of a new era of youth. In contemporary China, the new era has given young people the historical mission of seeking happiness for the Chinese people, the rejuvenation of the Chinese nation, and for the progress of the people in the world. Cultivating the mission and responsibility of youth is not only the requirement for national development, but also for young people to be qualified in the new era. Therefore, youth of the new era should clarify their status and mission, cultivate responsibility, and strive to become builders and successors of socialist modernization.