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The Comparison Between Chinese Film Industry And Hollywood
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Thoughts on the concept of national cinema and Chinese movie The Dream Factory Since the commercialization of Chinese film market in 1997, The Dream Factory(1997) directed by Xiaogang,Feng was committed as the first commercial film in China (Mainland of China) after years of previously censored propaganda film (this refers to those films allowed to be screened during the Great Culture Revolution period). This movie was meaningful not only in terms of it leads the serious thinking about the future of Chinese entertainment movie, but also it created a new genre—New year’s celebration movie which competing with same period Hollywood blockbuster as a crucial representation of Chinese national cinema. The aim of this study is to explore how The Dream Factory was defined as the term of national cinema based on the concept of national cinema developed by Andrew Higson. This study both provided some thoughts about Chinese national cinema and thoughts about Higson’s concept of national cinema. Previous film studies intend to look at national cinema in four terms: economic terms (production: where and by whom those films are made), text based approach(distribution: what the films is about, which films are shown), exhibition/consumption-based approach(which film audience are watching) and criticism-led approach(art is beyond the nations), Hinson argued that these approaches are inadequate because they used the concept prescriptively rather than descriptively which omitted the description of actual cinematic experience of popular audiences. (Higson,1989,p37) Instead, he suggested two method of identifying a national cinema. One is to compare and contrast one cinema to another (he also pointed out that there was a paradox behind the first m... ... middle of paper ... ...a joke of Eastern and Western’s different ideology and world view. P4 is the scene of traditional Chinese wedding. From those elements we could see the Chinese identity without comparing with other cinema. Because of the industrial structure (the state’s role in the film production) and those cultural elements, The Dream Factory could stand on its own and not colonized by Hollywood or other blockbusters. Conclusion This essay briefly introduced model suggested by Andrew Higson on the concept of national cinema. It provided three method of looking into a specific film and verifies if it’s a national cinema—examine the production, distribution, exhibition and audience, apart from those there were another two method suggested by Higson, comparing with another cinema and relate the cinema to the certain political, economy of and cultural identity of the certain state.
The purpose of The Last Train Home may seem identical to a typical documentary film, where the director sets out to raise awareness on a certain issue of importance. However, as the film progresses, the political subtext is revealed. The sincere intention of this film is to convey a message regarding the harmful effects that western consumerism has on the Chinese society. By doing so the director Lixin Fan, tries to make American viewers to sympathize with the problems of China’s industrial revolution, and feel partially responsible for supporting it through the products we
As one of the earliest films to come out of communist China’s new film schools in the 1980s, director Chen Kaige’s Yellow Earth reveals much about the Chinese communist party’s interpretation of the years before 1949 (the year of the Communist victory in China). Yellow Earth takes on the appearance of Communist propaganda films as the plot and themes develop. The minimalist mise-en-scene technique effectively illustrates the activities and rituals of daily rural Chinese life throughout the film. Nowhere in the film is the effectiveness of this technique more apparent than in the final scene when Han-Han struggles against the crowd to return to Gu.
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
This analysis draws focus on the differences between Hua’s novel and Zhang’s film by juxtaposing two key themes and dual-symbolism that had changed from one format to another. The paper is broken up into two parts and begins with an introduction and analysis of Yu Hua’s novel and Zhang’s film. Finally, the second part analyzes the film and novel’s representations of two themes and symbolism that tie in with the GPCR. This paper posits that while Zhang’s film does contain many adjustments based on its adaptation, those changes were not simply a means by which he would meet the status quo, rather they were a means by which the film could become more realistic and exploits the true nature of the GPCR.
The film Red Sorghum was one of the most popular Fifth Generation films in China and Abroad. As an adolescent American kid, probably the average, I got to see a new perspective of China through this class. I wanted to compare the West’s interpretation with Chinas’. One of the first things I did was compare Chinese cinema to well known American cinema.
The quest for identity quickly finds its place in the construction of the notion of ‘Hong Kong-ness’ in films. The local cinema has remained as a powerful cultural institution, both reflecting and intervening in the discourses of alterities and selfhood. It is therefore not surprising that in local films, the cinematic representations of Hong Kong have been seen as inextricably interwoven with the triangular relationship between the British coloniser, the Chinese motherland, and Hong Kong itself. Since its inception in the 1910s, the Hong Kong film industry has enjoyed much independence from colonial control, yet simultaneously much association with Western culture. Many films openly deal with the theme of ‘East meets West’ in which ‘Hong Kongese’ identity is often expressed in "transnational settings" against the existence of a Western Other, in particular through the portrayal of Westerners visiting Asia, and vice versa. After the handover, "Hong Kong" as a geopolitical en...
During the thirty odd years for which the cinema has existed as a medium of expression,
In my essay I will discuss the differences between national cinema and Hollywood cinema by using Rio de Janeiro¡¯s famous film City of God. There will be three parts in my following main body, the first part is a simple review of the film City of God, I will try to use the review to show the film structure and some different new points from this, show the how did the ¡®Shocking, frightening, thrilling and funny¡¯ (Nev Pierce) work in the film. The second part is my discussion parts; I will refer some typical Hollywood big name films such as Gangs in New York, Shawshank¡¯s Redemption, and Good Fellas to discuss the main differences between City of God and other national films. The third part is my summary, I will use my knowledge to analyse why there have big different between both kind of films and their advantages.
The concept of ‘cinema of attractions’ encompasses the development of early cinema, its technology, industry and cultural context. The explanation of how it is perceived by early cinema audiences is closely related to the effects of history at that time. How Gunning coined the term ‘cinema of attractions’ pertains to the history of the film industry at the turn of the 20th century and his interpretation of the audience and their reaction film technology. Single shots, the process of creating a moving picture and the juxtaposition of limited techniques, coupled with a new invention of showing a moving picture.
The film Hero depicts one of the most culturally rich and diverse country, China. China is one of the largest countries in the world with the long profound history. It is also the most diverse country in terms of language, religion, rituals, traditions, and beliefs. The film Hero has an unusual movie theme, it repeats similar events through flashbacks and with different outcomes. The tale is about the nameless warrior and the triumph of Qin’s idea of unifying China. The king invites the warrior to honor him for defeating his three most dangerous enemies, who are often proclaimed as the unbeatable warriors. The film is a cultural description of Chinese traditions. It has expanded my understanding of Chinese culture by portraying the spectacular
In this essay the following will be discussed; the change from the age of classical Hollywood film making to the new Hollywood era, the influence of European film making in American films from Martin Scorsese and how the film Taxi Driver shows the innovative and fresh techniques of this ‘New Hollywood Cinema’.
When the average Friday night cinemagoer sits down to watch a film in this country they would most probably be waiting to see the latest Hollywood blockbuster projected onto the screen. Film director John Ford once said, “Hollywood is a place you cant geographically define. We don’t really know where it is.” (Bordwell, Staiger and Thompson 1985) However, the term ‘Classical Hollywood style’ can be defined if we critically examine a body of films from the 1920s to the 1960s or the Golden Age.
Moreover, the purpose of this chapter is to talk about the Dr. Presence (2016) “contemporary oppositional British film culture” (p. 103) has Dr. Presence stated; realizing that the other side of the film culture in Britain is being ignored by the mainstream. He goes on by saying that it is important to recover the history of the “underground” film scene to understand the nature of contemporary film and what direction it will take in the future. There is confidence in Dr. Presence’s work because of his work relating to film, politics and avant-garde. Along with a current project he is working on which is a book version of his thesis, The Political Avant-garde: Oppositional Documentary in Britain since 1990 which touches on similar topics such as this chapter, he was been an active member in the film studies and radical film festival settings. Dr. Presence’s professional title is a Research Associate at CMIR, teaching interested minds in undergraduate and postgraduate studies. Dr. Presence has also worked with other industry professionals in his field on research
But we should start out by acknowledging its success. In considering some of the reasons for the recent success of South Korean cinema, two further observations can be made. First, if we pay attention to the international export success of South Korean cinema, we can see that it has carved out a new route. This is based on regional markets, at least as much as Europe and the United States. Second, unlike the successes of the Taiwanese and Chinese “new waves” since the 1980s, it is not based on the old European art cinema model.