film criticism

film criticism
Since 1979, film criticism in China has developed in two distinct ways. The first began with introduction of Western film theory and methodology which offered alternatives to the Soviet-style socialist realism that had dominated intellectual discourse on film since the 1930s. Bazin’s ‘realism’ and Kracauer’s ‘redemption of physical reality’ helped film circles of the 1980s break through the traditional Chinese concept of film which had been dominated by a combination of dramatic conflict characteristic of Hollywood and Eisenstein’s theory and practice of montage. The new concepts promoted the study of film as ontology and inspired a new generation of filmmakers after the Cultural Revolution. Later, film criticism broadened its theoretical scope to include the application of literary theory (structuralism, semiotics, psycho-analysis, feminism, neo-Marxism, postmodernism, post-colonialism and the like) to cinematic analysis, and also initiated a process of re-evaluating old films from the perspective of Cultural Studies. The second development in film criticism centred around a series of debates concerning the nature of film in Chinese society from which emerged an emphasis on film as an independent art form, thereby freeing film from its historical bondage to other literary, dramatic and theatrical modes, especially to the Huaju (spoken-drama) tradition. Such debates, which also underscored film’s entertainment values over its political relevance, helped create a significant number of exciting new films remarkably different from those made from the 1950s through the 1970s.
The most direct way to take the pulse of contemporary film criticism in China is to read journals on film as well as on literary and cultural studies published in the New Period. Among a number of periodicals on film, two stand out as serious journals of film criticism: Contemporary Cinema (Dangdai dianying) and Film Art (Dianying yishu).
Besides film journals, there have appeared some collections of articles on film. The most comprehensive one is A Collection of Chinese Film Theory (Zhongguo dianying lilun wenxuan, Wenhua yishu chubanshe, 1992) edited by Luo Yijun, a two-volume anthology that brings together influential articles from the birth of Chinese film to the 1980s.
Hu, Ke (1995). ‘Contemporary Film Theory in China’. Trans. Ted Wang, Chris Berry and Chen Mei. Screening the Past 3:65–73.
Li, Daoxin (2002). Zhongguo dianying piping shi, 1897–2000 [A History of Chinese Film Criticism, 1897–2000]. Beijing: Zhongguo dianying chubanshe.
Semsel, George S., Xia, Hong and Hou, Jianping (eds) (1990). Chinese Film Theory: A Guide to the New Era. New York: Praeger.
——(1993). Film in Contemporary China: Critical Debates, 1979–1989. New York: Praeger.
Zhang, Yingjun (2002). Screening China: Critical Interventions, Cinematic Reconfigurations, and the Transnational Imaginary in Contemporary Chinese Cinema. Ann Arbor: Center for Chinese Studies, University of Michigan.

Encyclopedia of contemporary Chinese culture. . 2011.

Игры ⚽ Поможем написать курсовую

Look at other dictionaries:

  • Film criticism — Film review redirects here. For the magazine, see Film Review (magazine). For the similar sounding Film revue, see Revue#Film revues. Film criticism is the analysis and evaluation of films, individually and collectively. In general, this can be… …   Wikipedia

  • Film canon — is the limited group of movies that serve as the measuring stick for the highest quality in the genre of film. Criticism of canonsThe idea of a film canon has been attacked as elitist. Thus some movie fans and critics prefer to simply compile… …   Wikipedia

  • Criticism — is the judgement of the merits and faults of the work or actions of an individual or group by another (the critic). To criticize does not necessarily imply to find fault, but the word is often taken to mean the simple expression of an objection… …   Wikipedia

  • Film theory — is an academic discipline, closely allied with Marxist critical theory, that aims to explore the essence of the cinema and provides conceptual frameworks for understanding film s relationship to reality, the other arts, individual viewers, and… …   Wikipedia

  • Film Ireland — is a cultural cinema magazine published on a bimonthly basis by Filmbase (aka Film Base) Centre for Film and Video in Dublin, Ireland. It is Ireland s longest running film publication [Flynn, Roderick and Patrick Brereton. Film Base , Historical… …   Wikipedia

  • Film Art — was written by David Bordwell, a professor of Film Studies at the University of Wisconsin Madision. Other books includes Narration in the Fiction film (university Wisconsin Press, 1985) and The Cinema of Eisenstein (Harvard University Press,… …   Wikipedia

  • Film — This article is about motion pictures or movies. For still photography film, see Photographic film. For motion picture film, see Film stock. Movie and Moving picture redirect here. For other uses, see Movie (disambiguation), Moving Pictures… …   Wikipedia

  • Criticism of Akira Kurosawa — Despite the extraordinary acclaim that Akira Kurosawa s work has received both in Japan and abroad, his films, as well as Kurosawa as an individual, have also been subject to considerable criticism, much of it harsh. The majority of these… …   Wikipedia

  • film, feminist —    Feminist film is situated in ideological opposition to the patriarchal codes and conventions of dominant (or mainstream) cinema. It engages with issues of female identity, subjectivity, desire, sexuality, history and spectatorship, challenging …   Encyclopedia of contemporary British culture

  • Film adaptation — is the transfer of a written work to a feature film. It is a type of derivative work. A common form of film adaptation is the use of a novel as the basis of a feature film, but film adaptation includes the use of non fiction (including… …   Wikipedia

Share the article and excerpts

Direct link
Do a right-click on the link above
and select “Copy Link”