Relevant bibliographies by topics / Chinese Film

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Chinese Film'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 January 2023

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Journal articles on the topic "Chinese Film"

1

Yang, Hanqi. "The significance of the change from "movie" to "movie view" to the evolution of Chinese films." Advances in Education, Humanities and Social Science Research 1, no. 2 (2022): 456. http://dx.doi.org/10.56028/aehssr.1.2.456.

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"Movie" is an appellation of early Chinese films. "Shadow" uses light as a pen to write a summary of screen behavior; "Drama" is an abstract meaning of plot and dramatic conflict. "Film drama" reflects the creative idea and direction of early Chinese films, and also reflects the origin between it and drama. In the history of Chinese film, this unique concept of national film was formed through multiple washes of subjective choice and the promotion of historical opportunities, and has gradually become the dominant concept of art and film in the development of Chinese film.
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Yang, Hanqi. "The significance of the change from "movie" to "movie view" to the evolution of Chinese films." Advances in Education, Humanities and Social Science Research 2, no. 1 (2022): 456. http://dx.doi.org/10.56028/aehssr.2.1.456.

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"Movie" is an appellation of early Chinese films. "Shadow" uses light as a pen to write a summary of screen behavior; "Drama" is an abstract meaning of plot and dramatic conflict. "Film drama" reflects the creative idea and direction of early Chinese films, and also reflects the origin between it and drama. In the history of Chinese film, this unique concept of national film was formed through multiple washes of subjective choice and the promotion of historical opportunities, and has gradually become the dominant concept of art and film in the development of Chinese film.
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Haina, Jin. "Intertitle translation of Chinese silent films." APTIF 9 - Reality vs. Illusion 66, no. 4-5 (2020): 719–32. http://dx.doi.org/10.1075/babel.00183.jin.

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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 co
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Wang, Haizhou. "The Historical Roots and Cultural Core of the Chinese Film School." Journal of Chinese Film Studies 1, no. 1 (2021): 101–13. http://dx.doi.org/10.1515/jcfs-2021-2010.

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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 dist
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Casas-Tost, Helena, and Sara Rovira-Esteva. "Chinese cinema in Spain." Babel. Revue internationale de la traduction / International Journal of Translation 65, no. 4 (2019): 581–603. http://dx.doi.org/10.1075/babel.00109.cas.

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Abstract Audiovisual translation has become one of the main means of communication between cultures. Although the number of Chinese films that reach Spanish audiences is rather limited, the cinema is still a very powerful tool in bridging the gap between these two cultures. This paper aims to give an overview of the situation of Chinese cinema in Spain through audiovisual translation. In order to do so, a database of 500 Chinese films translated into Spanish has been created. For each film, different types of information organized into three blocks have been collected: firstly, data regarding
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Chen, Jialiang. "A Comparative Study of English and Chinese Film Title Translation——from the Perspective of "Four Values"." International Linguistics Research 3, no. 4 (2020): p120. http://dx.doi.org/10.30560/ilr.v3n4p120.

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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 standa
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Xue, Chun Lan, Wei Gao, Ying Li, Jing Zhi Tong, Shuo Zhang, and Yan Wen Zhang. "Preparation of Compound Aloe Film and Tests of its Film Performance." Applied Mechanics and Materials 66-68 (July 2011): 2028–33. http://dx.doi.org/10.4028/www.scientific.net/amm.66-68.2028.

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OBJECTIVE To prepare traditional Chinese pharmaceutical film which can be absorbed through derma and have an effect of topical antibacterial , and take examinations of its film performance. METHODS The active ingredients extracted from the traditional Chinese medicine such as Aloe are blended in a certain proportion as the dressing of chitosan and casted into films. The thickness of the films were measured by the thickness measurement instrument, and the performance of the films was tested and compared such as film forming, swelling and solubility, water holding capacity and permeability. RESU
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Chunlei, Yang, and Yang Liyun. "The communication and acceptance of chinese films and TV series in Kazakhstan in the context of overseas promotion of chinese." Revista Amazonia Investiga 11, no. 53 (2022): 194–203. http://dx.doi.org/10.34069/ai/2022.53.05.19.

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Kazakhstan is the largest country in Central Asia, and its cooperation with China in economic and cultural aspects is increasingly close. Studying the communication and acceptance of Chinese film and TV series in Kazakhstan can better understand the acceptance and cognition of Chinese culture by the Central Asian people. Based on data analysis and literature research methods, this paper reviews the history of communication and current situation of Chinese films and TV series in Kazakhstan, uses questionnaires to explore the ways and effects of communication of Chinese film and TV series in Kaz
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Chen, Shan. "The Imaginative Impulse: Philosophies of Film and Chinese Aesthetic Sensibilities." Journal of Chinese Film Studies 1, no. 2 (2021): 399–414. http://dx.doi.org/10.1515/jcfs-2021-0023.

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Abstract This article investigates the similarities between inherent Chinese aesthetic sensibilities and modern cinematic thought and introduces Chinese films’ exploration of oriental film aesthetics during the “seventeen-year period” (1949–1966). It serves to remind us that in seeking to understand the developmental trajectory and driving forces behind Chinese film art, it is important to examine the changes in and contexts of modern Chinese modes of thought—especially artistic thought—so as to reveal the aesthetic sensibilities of modern Chinese films; the true nature of their artistic inher
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Zou, Dujuan, and Yajun Zeng. "The English Translation of Chinese Film Titles: A literary Review of Domestic Research." International Journal of English Language Studies 4, no. 4 (2022): 34–37. http://dx.doi.org/10.32996/ijels.2022.4.4.5.

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The translation of films is indispensable for Chinese cinema to "go global." As the"eyes" of a movie, the title of a film is the first impression that attracts people to watch the movie. A successful title translation promotes a movie, boosts its box office, and promotes culture. Based on the database of China National Knowledge Infrastructure(CNKI), as of September 2022, I found that the core journals related to the study of the English translation of Chinese film titles mainly focus on translation strategies and methods, translation theories, the comparison of English and Chinese film titles
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Dissertations / Theses on the topic "Chinese Film"

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Li, Yan 1959. "The Chinese Film Industry After 1976." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc500539/.

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After the "Cultural Revolution" in 1976, the Chinese film industry returned to normal. Between 1976 and 1979, most filmmakers returned to their film studios and began to reorganize the production system. After 1980, the Chinese film industry began to develop multi-dimensionally. The highlight of this development was the rising of a large number of young directors and their works, which became hits and attracted attention both at home and abroad. More and more Chinese films were seen at international film festivals, often winning the awards. This study focuses on the important period between 19
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Song, Tingting. "Independent cinema in the Chinese film industry." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/43448/1/Tingting_Song_Thesis.pdf.

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Chinese independent cinema has developed for more than twenty years. Two sorts of independent cinema exist in China. One is underground cinema, which is produced without official approvals and cannot be circulated in China, and the other are the films which are legally produced by small private film companies and circulated in the domestic film market. This sort of ‘within-system’ independent cinema has played a significant role in the development of Chinese cinema in terms of culture, economics and ideology. In contrast to the amount of comment on underground filmmaking in China, the signific
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Dolby, F. J. "Docu-realism in contemporary Chinese film." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598587.

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This dissertation concerns a group of young Chinese filmmakers, some of whom are referred to as the “Sixth Generation”, who have made films outside the state-run filmmaking system since the 1990s. Their strikingly innovative works have increasingly attracted attention both inside and outside China. In fact, this film practice, arising from new film aesthetics, has formed a new film genre: docu-realism, a term I coin to refer to the new genre in contemporary Chinese fiction film. This is a type of fiction film that for the most part employs documentary mechanisms and adopts documentary aestheti
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Chen, Yeong-Rury. "A fantasy China an investigation of the Huangmei Opera Film genre through the documentary film medium /." Australasian Digital Thesis Program, 2006. http://adt.lib.swin.edu.au/public/adt-VSWT20061009.132620/index.html.

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Thesis (DDes) - National Institute of Design Research, Swinburne University of Technology, 2006.<br>A doctoral research project presented to the National Institute of Design Research, Swinburne University of Technology in partial fulfilment of the requirements for the degree of Doctor of Design, 2006. Typescript. Bibliography: p. 109-120.
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Xu, Shuo. "The Curious case of Chinese film Censorship: An analysis of the film administration regulations." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23166.

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The commercialization and global transformation of the Chinese film industry demonstrates that this industry has been experiencing drastic changes within the new social and economic environment of China in which film has become a commodity generating high revenues. However, the Chinese government still exerts control over the industry which is perceived as an ideological tool. They believe that the films display and contain beliefs and values of certain social groups as well as external constraints of politics, economy, culture, and ideology. And, ironically, the films censored in China often
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Elliott, Fraser. "The circulation of Chinese cinemas in the UK : studies in taste, tastemaking and film cultures." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/the-circulation-of-chinese-cinemas-in-the-uk-studies-in-taste-tastemaking-and-film-cultures(d4745fd7-a5bb-4168-967e-17c2399df962).html.

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This thesis has two interrelated research objectives. First, to understand the circulation of Chinese cinema in Britain through the cultural authorities and gatekeepers responsible for the canonisation of international film. Second, to use Chinese-language films as case studies through which to deconstruct and better understand the mechanisms that make up British film cultures and their tastemaking practices. English-language Chinese film studies has long been preoccupied with the semantic issue of how to define such a loaded and diverse concept as “Chinese cinema”, with investigations g
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Tei, Chiew Siah. "Chinese texts, Western analysis : from film to novel." Thesis, University of Glasgow, 2007. http://theses.gla.ac.uk/3992/.

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This study explores perceptions of Chinese texts by Western audiences while looking into the interrelation between film and literature. This is done by two means: firstly, through a detailed discussion of film adaptations with the focus on Chinese cinema, and secondly, through a practical demonstration of a filmic style in prose fiction in the form of an original book-length piece of fiction. Using Bakhtin’s ‘dialogism’ as the point of departure, the research on adaptations adopts an intertextual approach of adaptation theory as developed by Robert Stam, looking into the intertextual relations
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Zhao, Zhi Long. "Chinese Passenger :an experimental short film focusing on Chinese inland immigrants' living experience." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953729.

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Steely, Danielle. "Identity in Chinese film: conflict, transformation, and the virtual." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32509.

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This thesis is an analysis of the notion of the virtual as laid out in works by Brian Massumi, Gilles Deleuze, and Félix Guattari. In it, I explore the virtual across several Chinese films of the last two decades and with respect to different challenges to identity. Through Center Stage, Farewell My Concubine, and Frozen, I investigate the dangers of the virtual in performance and the difficulty in recognizing the line between role and real. I then compare this to the similar yet distinct notion of disgui
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Wei, Ti. "Global processes, national responses : Chinese film cultures in transition." Thesis, Loughborough University, 2002. https://dspace.lboro.ac.uk/2134/6903.

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Today's processes of cultural globalization involve three major trends: (I)the global expansion of transnational communications conglomerates; (2) the global implementation of market-oriented cultural policies; and (3) the global diffusion of new communication technologies. These processes have set in motion complicated consequencesa nd prompted a range of national responses.B oth China and Taiwan, the two locations which embody the Asian region's largest cultural formation, have experienced major shifis in their internal political and economic organisation and been significantly influenced by
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Books on the topic "Chinese Film"

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Chinese film stars. Routledge, 2010.

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Berry, Chris, and Luke Robinson, eds. Chinese Film Festivals. Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3.

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Zhiwei, Xiao, ed. Encyclopedia of Chinese film. Routledge, 1998.

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Chen, Yuping. Translating Film Subtitles into Chinese. Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-6108-1.

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Zhou, Xuelin. Youth Culture in Chinese Language Film. Routledge, 2016. http://dx.doi.org/10.4324/978131559124.

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Docu-realism in contemporary Chinese film. Fudan da xue chu ban she, 2010.

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Shih, Celine Ching-Yun. Male homosexuality in Chinese contemporary film. LCP, 2001.

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Semiotics of exile in contemporary Chinese film. Palgrave Macmillan, 2012.

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Zeng, Hong. Semiotics of Exile in Contemporary Chinese Film. Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137031631.

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1965-, Lü Xinyu, ed. The new Chinese documentary film movement: For the public record. Hong Kong University Press, 2010.

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Book chapters on the topic "Chinese Film"

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Xihe, Chen. "Chinese Film Scholarship in Chinese." In A Companion to Chinese Cinema. Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444355994.ch25.

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Berry, Chris, and Luke Robinson. "Introduction." In Chinese Film Festivals. Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_1.

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Robinson, Luke. "Sole Traders, Cultural Brokers, and Chinese-Language Film Festivals in the United Kingdom: The London Taiwan Cinefest and the Chinese Visual Festival." In Chinese Film Festivals. Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_10.

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Iordanova, Dina. "Yingying, Zhenzhen, and Fenfen? China at the Festivals." In Chinese Film Festivals. Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_11.

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Ma, Ran. "Programming China at the Hong Kong International Film Festival and the Shanghai International Film Festival." In Chinese Film Festivals. Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_12.

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Marchetti, Gina. "Clara Law’s Red Earth: The Hong Kong International Film Festival and the Cultural Politics of the Sponsored Short." In Chinese Film Festivals. Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_13.

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Chio, Jenny. "Rural Films in an Urban Festival: Community Media and Cultural Translation at the Yunnan Multi Culture Visual Festival." In Chinese Film Festivals. Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_14.

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Yeo, Su-Anne. "Translating the Margins: New Asian Cinema, Independent Cinema, and Minor Transnationalism at the Hong Kong Asian Film Festival." In Chinese Film Festivals. Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_15.

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Wong, Cindy Hing-Yuk. "Translating Chinese Film Festivals: Three Cases in New York." In Chinese Film Festivals. Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_16.

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Berry, Chris. "Shanghai and Hong Kong: A Tale of Two Festivals." In Chinese Film Festivals. Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_2.

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Conference papers on the topic "Chinese Film"

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Yang, Minke, and Lin Lin. "Interactive film." In the Seventh International Symposium of Chinese CHI. ACM Press, 2019. http://dx.doi.org/10.1145/3332169.3332179.

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"Research on Chinese Animation Film Technology." In 2017 4th International Conference on Literature, Linguistics and Arts. Francis Academic Press, 2017. http://dx.doi.org/10.25236/iclla.2017.39.

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Zhao, Xiaoliang, Jia Chen, Jinhui Li, et al. "MultiPneu: Inflatable Deformation of Multilayered Film Materials." In Chinese CHI 2021: The Ninth International Symposium of Chinese CHI. ACM, 2021. http://dx.doi.org/10.1145/3490355.3490517.

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Xiao, Fu. "SOVIET FILM EXPERTS AND THE "SOVIET EXPERIENCE" IN THE CONSTRUCTION OF NEW CHINESE CINEMA (1949‒1959)." In Chinese Studies in the 21st Century. Buryat State University Publishing Department, 2022. http://dx.doi.org/10.18101/978-5-9793-1802-8-2022-304-316.

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In the 1950s, more than 20 Soviet film experts came to China to assist in the formulation of the "First Five-Year Plan" and the top-level design of the new Chinese film construction, assisted film studios and machinery manufacturing plants to improve their technology, assisted in the preparation of the Beijing Film Academy and participated in teaching, and laid the foundation for the initial formation of the new Chinese film system, technology and education. On this basis, the new Chinese filmmakers successfully inter-nalized the "Soviet experience", which led to a new situation in the constru
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Wang, Xiaolu. "The Ecological Perspective of Chinese Eco-film." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.023.

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Barov, Sergey, Tatiana Orlova, and Yurii Medvedev. "USE OF FILM FOOTAGE IN CHINESE LANGUAGE TEACHING." In International Conference on Education and New Learning Technologies. IATED, 2017. http://dx.doi.org/10.21125/edulearn.2017.1170.

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"Chinese Dragon’s Rise in the Global Film Industry." In June 25-26, 2018 London (UK). Higher Education And Innovation Group, 2018. http://dx.doi.org/10.17758/heaig4.h0618502.

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Xiancai, Zhang, and Xiancai Zhang. "Risk and prevention of Chinese film crowdfunding mode." In Proceedings of the Sixth Symposium of Risk Analysis and Risk Management in Western China (WRARM 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/wrarm-19.2019.36.

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He, Ping, Chao Liu, Qi Li, and Shengmei Cao. "Non-contact measurement of plastic film thickness." In 2014 33rd Chinese Control Conference (CCC). IEEE, 2014. http://dx.doi.org/10.1109/chicc.2014.6896241.

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Li, Xuanyi. "The Changing Perception of the Chinese on American Policies in the Post COVID-19 Pandemic Era." In – The Asian Conference on Media, Communication & Film 2020. The International Academic Forum(IAFOR), 2021. http://dx.doi.org/10.22492/issn.2186-5906.2021.6.

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Reports on the topic "Chinese Film"

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Arnold, Zachary, Joanne Boisson, Lorenzo Bongiovanni, Daniel Chou, Carrie Peelman, and Ilya Rahkovsky. Using Machine Learning to Fill Gaps in Chinese AI Market Data. Center for Security and Emerging Technology, 2021. http://dx.doi.org/10.51593/20200064.

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In this proof-of-concept project, CSET and Amplyfi Ltd. used machine learning models and Chinese-language web data to identify Chinese companies active in artificial intelligence. Most of these companies were not labeled or described as AI-related in two high-quality commercial datasets. The authors' findings show that using structured data alone—even from the best providers—will yield an incomplete picture of the Chinese AI landscape.
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Li, Chunding, and John Whalley. Chinese Firm and Industry Reactions to Antidumping Initiations and Measures. National Bureau of Economic Research, 2010. http://dx.doi.org/10.3386/w16446.

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Fedasiuk, Ryan, Emily Weinstein, and Anna Puglisi. China’s Foreign Technology Wish List. Center for Security and Emerging Technology, 2021. http://dx.doi.org/10.51593/20210009.

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“Science and technology diplomats” act as brokers as part of China’s broader strategy to acquire foreign technology. Each year, they file hundreds of official reports on their activities. This issue brief illuminates trends in the 642 reports filed by the S&amp;T directorates of Chinese embassies and consulates from 2015 to 2020, quantifying which types of technologies the Chinese government is most focused on acquiring, and from where.
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Bayoumi, Tamim, Hui Tong, and Shang-Jin Wei. The Chinese Corporate Savings Puzzle: A Firm-level Cross-country Perspective. National Bureau of Economic Research, 2010. http://dx.doi.org/10.3386/w16432.

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Park, Albert, Dean Yang, Xinzheng Shi, and Yuan Jiang. Exporting and Firm Performance: Chinese Exporters and the Asian Financial Crisis. National Bureau of Economic Research, 2009. http://dx.doi.org/10.3386/w14632.

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Brandt, Loren, Johannes Van Biesebroeck, and Yifan Zhang. Creative Accounting or Creative Destruction? Firm-level Productivity Growth in Chinese Manufacturing. National Bureau of Economic Research, 2009. http://dx.doi.org/10.3386/w15152.

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Chi, Ting. Market orientation, firm strategy, and business performance: an empirical study of Chinese apparel industry. Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-860.

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Roberts, Mark, Daniel Yi Xu, Xiaoyan Fan, and Shengxing Zhang. The Role of Firm Factors in Demand, Cost, and Export Market Selection for Chinese Footwear Producers. National Bureau of Economic Research, 2012. http://dx.doi.org/10.3386/w17725.

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Wang, Baolu, and Jung E. Ha-Brookshire. Perceived Cost of New Technology Adoption: Scale Development in the Context of Chinese Textile and Apparel Firm Managers. Iowa State University. Library, 2019. http://dx.doi.org/10.31274/itaa.8423.

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