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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 phrase “history repeats itself is quite evident in this film. Currently, China’s economy is in a massive industrial revolution, similar to the American industrial revolution of the early 19th century. After three years of following the Zhang family, first time director Lixin Fan released The Last Train Home, attempting to raise awareness to the down side of China’s powerful economy. While the film The Last Train Home seems to just depict the lives of factory workers, it is also making a political statement about how western capitalism exploits factory workers to produce cheap goods. The film makes this exploitation evident by depicting the fracturing of the Zhang family and the harsh working conditions they must endure.
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 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.
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.
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universally understanding or interpretation. This is true for the French New Wave films; Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films; Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society using sound and editing.
Modernization in the 1980s paved the way for the Hong Kong New Wave, as the studio system set up in the 1950s was dismantled, the film industry experienced more freedom. Since decolonization was heavily present 75% of Hong Kong’s box office revenue were home grown movies, while the meager 15% was left for the foreign market. As one can see the political context of Ho...
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’.
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. This raises a question about the viability of art cinema, independent feature films, short films, independent documentary, and other less profitable and commercial modes of filmmaking in South Korea. It may even lead some people to believe that those other modes of filmmaking are not an integral part of the new South Korean cinema success story. Yet, my third and final point will be to argue against this and for the importance of what I want to tentatively call “full service cinema,” including a full range of modes of production and consumption. In making this point, I want to challenge another very common assumption not only in South Korea but everywhere—the idea that art cinema and independent cinema are opposed to mainstream commercial cinema. While there may be an aesthetic opposition between them, it is a strategic mistake to translate this into an institutional opposition. Even though their philosophies may be very different, as I will attempt to outline today, they need each other to succeed.
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.
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.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
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