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Journal articles on the topic 'Chinese Film'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 January 2023

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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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3

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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Chen, Shuowen. "Subtitle Translation of Red Film from the Perspective of Purpose Theory." BCP Social Sciences & Humanities 16 (March 26, 2022): 576–82. http://dx.doi.org/10.54691/bcpssh.v16i.516.

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In recent years, as China is opening up more to the outside world, the foreign exchange activities of the film and culture industry are increasing, and a large number of domestic high-quality films have been continuously exported to overseas markets. Based on this background, the translation of Chinese films for foreign promotion is also facing a huge and unprecedented challenge, and both Chinese film circle and translation academics failed to fully realize the importance of subtitle translation for spreading Chinese films abroad. As a popular red-themed movie nowadays, "The Battle at Lake Cha

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Changsong, Nam Wang, and Rohani Hashim. "How Chinese Youth Cinema Develops? Reviewing Chinese Youth Genre in Mainland China, Taiwan and Hong Kong, 1950s-2000s." GATR Global Journal of Business Social Sciences Review 2, no. 1 (2014): 54–67. http://dx.doi.org/10.35609/gjbssr.2014.2.1(7).

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Objective - This study considers Chinese youth cinema as a historical object that represents the gamut of social practices and styles of production. Methodology/Technique - The authors examine the historical development of young people for tracing how different social and historical contexts interpret the Chinese young people's world. Findings - The youth films produced in the major Chinese regions—Mainland China, Taiwan and Hong Kong—illustrate how much social practices dominated the film content and style. For instance, youth genre in Hong Kong, once prevalent in the Cantonese cinema of the

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Zhou, Xing. "The Current Problems of Aesthetic Creation in Chinese Film Art." Journal of Chinese Film Studies 1, no. 2 (2021): 355–76. http://dx.doi.org/10.1515/jcfs-2021-0031.

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Abstract Current market-led Chinese film production has made huge achievements. Market indicators certainly have their validity. However, the power of the market has been exaggerated so that it controls everything. Because of the disregard of film as an aesthetic object, the content, form and aesthetic sensibility of films have been neglected, preventing creation at a higher level. The loss of multiple cultural identities due to market factors and artistic indifference is hardly sustainable in the long run. In recent years, Chinese films have gradually improved their artistic aesthetics. How t

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Xue, Mengjie. "The Transmission Effect of Costume Dramas on International Social Media." Journal of Education, Humanities and Social Sciences 1 (July 6, 2022): 82–85. http://dx.doi.org/10.54097/ehss.v1i.642.

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C-dramas are launched on YouTube platform, and the update speed overseas is the same as that at home. Overseas audiences can understand costume dramas through language symbols, star symbols, and they love costume dramas more than modern dramas. They have the ability to share joys and sorrows with film and television characters. The viewing of costume dramas leads to Chinese fever and star chasing behavior. In order to better spread costume drama, it can create contact opportunities for overseas audiences within the acceptable range of culture, reduce the cultural inaccuracy part of costume dra

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Richeri, Giuseppe. "Global film market, regional problems." Global Media and China 1, no. 4 (2016): 312–30. http://dx.doi.org/10.1177/2059436416681576.

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In the global film market, China is gaining more and more importance. The Chinese box office and film admissions are growing year after year and Chinese film and related companies are able to make business more and more abroad. On the contrary, US and European film markets are flat and the production costs of their film are growing. Both are trying to enter the Chinese film market and cooperate with Chinese film companies. The article reviews the Hollywood strategies towards China and analyses the advantages and problems that will be found following this way and the reason why China is interes

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Santyaputri, Lala, Olivia Nursalim, and Catherine Karenina. "Eksplorasi Visual Naratif Indonesia-Tionghoa dalam Film Karya Mahasiswa." DESKOMVIS: Jurnal Ilmiah Desain Komunikasi Visual, Seni Rupa dan Media 1, no. 1 (2020): 46–55. http://dx.doi.org/10.38010/dkv.v1i1.6.

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Indonesian-Chinese in Indonesian films rarely become the main subject of the narrative and even still marginalized. Marginalization in Indonesian-Chinese looks back at the Indonesian history, which doesn’t provide the similar space as other Indonesian citizens. The development of Indonesian films now gives new space to new filmmakers, especially those academicaly speaking graduated from film schools. Narative and visual analysis was carried out on two works on Indonesian-Chinese by using a narrative research methodology with a qualitative approach. Stages of research conducted by the director

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Hu, Zhifeng, and Yin Chen. "Looking Backwards and Forwards: The Development of Film Art in the People’s Republic of China." Journal of Chinese Film Studies 1, no. 2 (2021): 237–61. http://dx.doi.org/10.1515/jcfs-2021-0035.

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Abstract The development of film art in the People’s Republic of China throughout the past 70 years can be roughly divided into two stages: before and after the reform and opening-up．During this period, Chinese films not only influenced the political, economic, social, and cultural spheres, but they also produced aesthetics with uniquely Chinese characteristics, distinguishing themselves on the world film stage. However, after 70 years of development, Chinese films still have many contradictions and problems, namely: how to deal with the relationships between education and entertainment, plan

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Zhao, Siyun. "Export of Chinese Animated Film:A Case Study on Nezha." Communications in Humanities Research 1, no. 1 (2021): 28–33. http://dx.doi.org/10.54254/chr.iceipi.2021185.

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The box office of Chinese films is growing, and domestic films have made a great contribution.Chinese films has also becoming an important component of Chinese cultural exportation. Animated films have advantage of having wider audience, which can convey national values more gently and shape the national image imperceptibly. This paper took the animated film "Nezha", which was a dark horse at the domestic box office, as an example to analyze the advantages and disadvantages of Chinese animation film in cross-cultural communication. The study found that although technique and animation visual e

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Berry, Chris. "Hitchcock with a Chinese Face: Cinematic Doubles, Oedipal Triangles, and China's Moral Voice (with DVD). By Jerome Silbergeld. [Seattle: University of Washington Press, 2004. 160 pp. £22.95. ISBN 0-295-98417-1.]." China Quarterly 182 (June 2005): 454–56. http://dx.doi.org/10.1017/s0305741005360267.

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Jerome Silbergeld introduced an art history approach into Chinese film studies with China into Film: Frames of Reference in Contemporary Chinese Cinema in 2000. Hitchcock with a Chinese Face goes further. Like an art historian selecting three seemingly disparate paintings and demonstrating their links, Silbergeld chooses a film each from Hong Kong, Taiwan and mainland China, but argues that they pursue similar aesthetic and political directions. The result is a virtuoso display of intense textual and inter-textual exegesis, informed by an in-depth knowledge of the pre-modern Chinese arts, cont

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Zang, Jinying. "Symbolic Tension in Contemporary Chinese Urban Film: Culture, Space and Community." Tobacco Regulatory Science 7, no. 5 (2021): 3664–70. http://dx.doi.org/10.18001/trs.7.5.1.143.

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Film semiotics is an important theory produced in the modern film period, and urban film closely responds to the process of contemporary Chinese urbanization. Borrowing the theory of film semiotics to analyze Chinese contemporary urban films, it can be found that typical cities have formed a unique symbolic tension, referring to urban culture, and having multiple symbolic elements sets to interpret the new imagination of the city. Urban film and film semiotics should jointly promote the poetic integration of various classes in the city, construct an urban emotional community, and form emotiona

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Van Fleit, Krista. "Suspect narratives: “Sinifying” an “Indianized” Japanese story." International Journal of Asian Studies 19, no. 2 (2022): 303–17. http://dx.doi.org/10.1017/s1479591422000067.

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AbstractIn 2013, the Malayalam film Drishyam, a suspenseful story of the cover up of an accidental murder, became a huge hit in India that inspired remakes in many regional languages including one in Hindi that, as with other recent Bollywood hits, traveled to China. This time, though, instead of screening the Hindi film in theaters, the narrative reached Chinese audiences with a Chinese language remake, titled Sheep Without A Shepherd《误杀》. The original film has been accused of lifting its story from a popular Japanese detective novel, The Devotion of Suspect X, which was also made into films

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Barnett, Robert. "Younghusband Redux: Chinese Dramatisations of the British Invasion of Tibet." Inner Asia 14, no. 1 (2012): 195–234. http://dx.doi.org/10.1163/22105018-990123786.

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AbstractA film, a television series, four plays and an opera have been produced in China since 1997 dramatising the invasion of Tibet by the British in 1903 04. These works were part of an official effort to enhance patriotic spirit among Chinese and Tibetan people through historical example, as well as an attempt to represent Tibetans as participants in a broader Chinese resistance to Western aggression and humiliation. They coincided with an official call for film-makers to make propaganda more appealing and a decisive turn in Chinese cinema towards commercialised films and Hollywood-style n

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Jin, Haina. "When a beautiful daughter-in-law meets Africa: Translating Chinese films and television programmes for the African market." Journal of African Cinemas 12, no. 1 (2020): 17–30. http://dx.doi.org/10.1386/jac_00025_1.

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There has been a long-standing cooperative relationship between the Chinese film industry and African film industries since the 1950s. In recent years, more and more Chinese film and television studios have sought to sell their products abroad, which has meant investing in translation. In order to project the image of a modern China with a rich cultural heritage, the State Administration of Radio, Film and Television (SARFT) launched the ‘Sino-Africa Film and Television Cooperation Project’ to promote the translation and dissemination of Chinese films and television products in Africa. As a re

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Han, Xiaoxin, and Feng Sun. "The Origin and Initial Development of Chinese Documentaries (1905-1931)." Russian and Chinese Studies 4, no. 2 (2020): 170–75. http://dx.doi.org/10.17150/2587-7445.2020.4(2).170-175.

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This article discusses the origins and early development of Chinese documentaries. Cinematography in almost all countries began with documentaries, because from the very beginning cinema existed as a means of recording. Chinese documentaries, which appeared in 1905, are no exception either. Documentaries reveal the history of Chinese cinematography. The first film produced by the Chinese was a piece from the Beijing Opera. The development of science and technology, especially photography, created necessary preconditions for the invention of cinema. In 1839, a photography emerged. In 1840, a re

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Chiu, Weisheng, and Shiheng Zeng. "Determinants of Chinese Tourists’ Loyalty to Korea: A Comparison of Film and Non-film Tourist Perceptions." International Journal of Social Science and Humanity 6, no. 9 (2016): 667–71. http://dx.doi.org/10.7763/ijssh.2016.v6.667-671.

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Kang, Hongzhe, Dong Ma, Megat Al Imran Yasin, Mohd Nizam Osman, Lay Hoon Ang, and Mengyu Li. "Analysis of Consumer Aspirations on Chinese Films among Chinese Malaysians." Mobile Information Systems 2022 (July 8, 2022): 1–9. http://dx.doi.org/10.1155/2022/4174850.

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Chinese films have the potential to play a key role in the Belt and Road Initiative. Although Chinese Malaysians contributed to the development of China’s film industry, the consumption incentives of Chinese Malaysians for Chinese films are worth mentioning. Furthermore, Chinese Malaysians’ purchasing behaviour towards Chinese films is affected by a combination of consuming factors. However, the function of linguistic proximity in the link between consuming incentive and purchasing behaviour is unexplored. This study focused on Chinese Malaysian students from three universities in Selangor and

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Jianqiang, Li. "Chinese Popular Film Criticism." Journal of Popular Culture 27, no. 2 (1993): 39–50. http://dx.doi.org/10.1111/j.0022-3840.1993.00039.x.

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Lu, Yujie. "Cross-Cultural Communication Practices for Chinese Films From Speaking Into the Air." Asian Journal of Social Science Studies 7, no. 7 (2022): 52. http://dx.doi.org/10.20849/ajsss.v7i7.1244.

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By using the theory of communication philosophy, our paper excavates the “symbol-spread-dialogue” communication theory proposed by Peters in Speaking into the Air: A History of the Idea of Communication as the discursive logic, and through its research on the diachronic process of cross-cultural communication of contemporary Chinese films, in-depth content expression, communication paradigm and effect feedback, and explores the differences between communication theory and film cross-cultural practice. The study found that the practice of cross-cultural communication of Chinese films based on t

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Ong, Donna. "Liu Na’ou And The 1930s Soft Film Movement: A New Approach In Revisionist Chinese Film Historiography." CINEJ Cinema Journal 2, no. 2 (2013): 66–81. http://dx.doi.org/10.5195/cinej.2013.69.

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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 c

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Talmacs, Nicole. "Chinese cinema and Australian audiences: an exploratory study." Media International Australia 175, no. 1 (2020): 50–64. http://dx.doi.org/10.1177/1329878x20908083.

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Since Wanda’s acquisition of Hoyts Group in 2015, and Australia’s signing of the Film Co-production Treaty with China in 2008, Chinese cinema has gained access to mainstream Australian cinemas more than ever before. To date, these films have struggled to cross over into the mainstream (that is, attract non-diasporic audiences). Drawing on film screenings of a selection of both Chinese and Chinese-foreign co-productions recently theatrically released in major cities in Australia, this article finds Chinese and Chinese-foreign co-produced cinema will likely continue to lack appeal among non-Chin

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Gao, Yu, and Myungsook Choi. "A Study on Convergence of Color and Music in the Movie Crouching Tiger, Hidden Dragon." Korean Society of Culture and Convergence 44, no. 11 (2022): 1083–97. http://dx.doi.org/10.33645/cnc.2022.11.44.11.1083.

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The film Crouching Tiger, Hidden Dragon (2000) directed by Ang Lee, known as one of the new era of Chinese martial arts films, is the first film in Chinese film history to win the Academy Award for Best Foreign Language Film. Tan Dun, a composer and conductor, won the 73rd Academy Awards for Best Original Music in 2001 by the music of Crouching Tiger, Hidden Dragon. In 2002, he won the 44th Grammy Award for Best Original Film Music Album, and began to receive extensive attention. This paper explored Crouching Tiger, Hidden Dragon with strong oriental color and traditional music and investigate

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Keyser, Anne Sytske. "Chinese Films At the 1993 Rotterdam Film Festival." China Information 7, no. 4 (1993): 33–38. http://dx.doi.org/10.1177/0920203x9300700403.

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Woei Lien Chong and Anne Sytske Keyser. "Chinese Films at the 1994 Rotterdam Film Festival." China Information 8, no. 3 (1993): 53–66. http://dx.doi.org/10.1177/0920203x9300800305.

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Li, Kaiyi. "Education, Entertainment, and Indoctrination." Journal of Educational Media, Memory, and Society 12, no. 1 (2020): 24–42. http://dx.doi.org/10.3167/jemms.2020.120102.

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This article demonstrates how educational film in interwar China served the dual purpose of mass recreation and political indoctrination. It places educational film in China in the context of Chinese tradition and the predominance of utilitarian scholarship. On the one hand, China has a long history of using mass-recreational tools in order to influence and control society. On the other hand, foreign educational films available in the early twentieth century were not attractive to Chinese audiences. Hence, the boundary between recreational and educational film at the time was ambivalent and th

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Xiao, Zhiwei. "Building a New China in Cinema: The Chinese Left-wing Cinema Movement, 1932–1937. By Laikwan Pang. [Lanham, MD, Boulder, New York and Oxford: Rowman and Littlefield, 2002. xvi+279 pp. £22.95. ISBN 0-7425-0946-X.]." China Quarterly 175 (September 2003): 844–46. http://dx.doi.org/10.1017/s0305741003330474.

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As the first monograph on the Chinese left-wing cinema movement published in English, this book makes a significant contribution to the growing literature on pre-1949 Chinese film. Based on extensive research in both primary and secondary sources, Pang traces the historical development of the leftist cinema movement and makes several insightful observations about 1930s film culture in China in general and the leftist cinema movement in particular. She argues that during the 1930s, a group of Chinese filmmakers, despite their individual differences in social and political backgrounds, shared so

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Hong, Yanyan. "The power of Bollywood: A study on opportunities, challenges, and audiences’ perceptions of Indian cinema in China." Global Media and China 6, no. 3 (2021): 345–63. http://dx.doi.org/10.1177/20594364211022605.

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India has long been known for its prestigious Mumbai-based film industry, namely Bollywood, and remains by far the largest producer of films in the world. With the growing global reach of Indian cinema, this study looks at an intriguing Indian-film fever over the last decade in the newly discovered market of China. Through examining key factors that make Indian films appealing to Chinese and exploring the opportunities and challenges of Indian cinema in China, this article draws upon insights gained from the narratives of local audiences. Data were collected from semi-structured interviews wit

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Shaw, Gareth, and Xiaoling Zhang. "Cyberspace and gay rights in a digital China: Queer documentary filmmaking under state censorship." China Information 32, no. 2 (2017): 270–92. http://dx.doi.org/10.1177/0920203x17734134.

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Owing to China’s austere censorship regulations on film media, directors of films and documentaries engaging with lesbian, gay, bisexual and transgender themes have struggled to bring their work to domestic attention. Working outside of the state-funded Chinese film industry has become necessary for these directors to commit their narratives to film, but without approval of China’s State Administration of Press, Publication, Radio, Film and Television, these artists have had little chance of achieving widespread domestic distribution of their work. However, advancements in new media technology

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Teng, Yue. "Chinese urban emotional Slm — a Taste of life in lyrics." Moscow State University Bulletin. Series 18. Sociology and Political Science 27, no. 3 (2021): 253–60. http://dx.doi.org/10.24290/1029-3736-2021-27-3-253-260.

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The Chinese film industry began in the early twentieth century. Chinese urban emotional film has become more and more popular with the Chinese people in recent years, so urban working youth emotional film also appears more and more often on the screen. An urban emotional film takes the city as a theme, takes urban life as a backdrop, takes urban family, friendship and love as the main clue for plot development, and takes the artistic expression of emotions as the main point of note. The combination of cinema and music is an independent cultural product generated by the film industry. Music pla

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Fleming, David H. "Victor Fan (2015) Cinema Approaching Reality: Locating Chinese Film Theory." Film-Philosophy 21, no. 1 (2017): 146–51. http://dx.doi.org/10.3366/film.2017.0038.

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NG, How Wee. "K. Rajagopal on making films for and on the ethnic minority in Singapore." Asian Cinema 31, no. 1 (2020): 139–42. http://dx.doi.org/10.1386/ac_00019_7.

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This interview was motivated by an interest in exploring how Singapore film directors perceive the three major Chinese cinema awards, mainly the Golden Horse Awards (GHA), Hong Kong Film Awards (HKFA) and Golden Rooster Awards (GRA), and what they might signify for Singapore cinema, especially for a nation that is predominantly ethnic Chinese. Compared to the number of Singapore Chinese-language films produced in the last two decades, there have been considerably less Indian-language productions. K. Rajagopal’s A Yellow Bird (2016) alongside two other Tamil films, namely Eric Khoo’s My Magic (

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Yu, Haikuo. "English-Chinese Film Translation in China." Journal of Translation 9, no. 2 (2013): 55–65. http://dx.doi.org/10.54395/jot-3fcfh.

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Film translation in China has developed quickly. This article discusses the origin and nature of film, the features of film language, and the two main forms of film translation in China: dubbing and subtitling. The article then gives an overview of the history of film translation, and finally it investigates the main techniques used in English-Chinese dubbing and subtitling.

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Zhao, Zijun. "Research on the Photographic Printing Technology of Pictorials in the Context of Early Chinese Films." BCP Social Sciences & Humanities 15 (March 13, 2022): 197–206. http://dx.doi.org/10.54691/bcpssh.v15i.422.

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Among the numerous studies on the history of early Chinese films, film derivatives, as a part of it, have been neglected to some degree. Even worse, there are fewer studies on the material media with an archaeological concept. To fill this void, this paper adopted the column "The World of Screen" of the Pei-yang Pictorial News from 1933 to 1934 and the photo copperplate printing and zincography used as the object of study. Based on the research approaches of media archaeology (materiality, heterogeneity and reproduction), this study investigated the involvement of film promotion in the process

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Chen, Rui, Zhiyi Chen, and Yongzhong Yang. "The Creation and Operation Strategy of Disney’s Mulan: Cultural Appropriation and Cultural Discount." Sustainability 13, no. 5 (2021): 2751. http://dx.doi.org/10.3390/su13052751.

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The purpose of this paper is to explore Disney Mulan’s cultural appropriation strategy and the cultural discount phenomenon formed in the Chinese market from the perspective of users and discuss the creation and operation strategy of the film. In 2020, Disney released a new film that originated in China, Mulan, but received negative reviews from the Chinese consumer market. Taking this as an example, this paper uses NVivo and ROSTCM to conduct content-coding and text analysis on creators’ interview records and consumer comments and seeks for the differences in understanding between Chinese aud

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Chen, Tina Mai. "Socialism, Aestheticized Bodies, and International Circuits of Gender: Soviet Female Film Stars in the People’s Republic of China, 1949–1969*." Journal of the Canadian Historical Association 18, no. 2 (2008): 53–80. http://dx.doi.org/10.7202/018223ar.

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Abstract This paper analyses the importance of love relations and sexuality in Soviet film for Chinese socialism in the 1950s and 1960s. By looking at the movement of Soviet women across the Sino-Soviet border — in films and as part of film delegations — I highlight the international circuits of gender that shaped socialist womanhood in China. I examine Chinese discussion of Soviet film stars including Marina Ladynina, Vera Maretskaia, and Marina Kovaleva. I locate the movement away from 'fun-loving post-revolutionary' womanhood associated with Ladynina to socialist womanhood located in strugg

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Xie, Ying. "The Patriotism and the Heroism Embedded in the Subtitles of Chinese-English Movies: The Mission of “Main Melody” Films." International Journal of Comparative Literature and Translation Studies 8, no. 3 (2020): 34. http://dx.doi.org/10.7575/aiac.ijclts.v.8n.3p.34.

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The dissemination of audiovisual products has played an indispensable role in shaping ideological propaganda and national influence in China. The “Main Melody” are the films that serve to propagandize the mainstream ideology of the Chinese Communist Party (CCP). As a typical example of this genre, Wolf Warrior II (《战狼2》) (2017) has been the top-grossing film in the Chinese mainland since its release in July 2017. The science fiction film The Wandering Earth ( 《流浪地球》) (2019), with its subtle implication of “Main Melody”, quickly ranks as the third. Meanwhile, the action movie Operation Red Sea

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Zhang, Liwei. "Chinese cinematography in Russia in the context of “One Belt, One Road” initiative." Neophilology, no. 17 (2019): 90–95. http://dx.doi.org/10.20310/2587-6953-2019-5-17-90-95.

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In this study we consider Chinese cinema in Russia distribution condition. It is proved that a serious stimulus for the development of cinematography in the People's Republic of China was a rational combination of commercial tools in the production of films with the solution of serious image problems for China, that modern Chinese cinematography has acquired another extremely important load – it has become an important media instrument of “soft power” for the dissemination abroad of information about Chinese culture, history and politics, as well as for the formation of a positive image of Chi

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Parish, William L., Carma Hinton, and Richard Gordon. "Chinese Village Life on Film." Contemporary Sociology 15, no. 6 (1986): 840. http://dx.doi.org/10.2307/2071115.

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An, Dong. "Chinese Film Classics, 1922–1949." Historical Journal of Film, Radio and Television 41, no. 4 (2021): 868–70. http://dx.doi.org/10.1080/01439685.2021.1984645.

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Carson, Diane. "Chinese Film: Sources and Resources." Cinema Journal 34, no. 4 (1995): 83. http://dx.doi.org/10.2307/1225581.

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Zhang, Yingjin. "Chinese film history and historiography." Journal of Chinese Cinemas 10, no. 1 (2016): 38–47. http://dx.doi.org/10.1080/17508061.2016.1139802.

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