The Modern Construction Of The Concept Of Chinese Film And Its Reflection

In the long history of Chinese movie development, the1980s is a unique historicalperiod. The uniqueness is embodied in that this period is an important turning pointin the history of Chinese movie development, with which there was a great debate ofthe movie concept. This period experienced several important stages such as theintense debates on the dramatic, literariness, modernization and art ontology ofmovie, the extensive translation of contemporary western movie theories, theinvitation of many western theorists to China to give lessons which speeded up themodern construction of the Chinese movie concept, the proposal of aesthetic theoryin the late1980s, the discussion of entertainments and the debate on "Xie Jin Mode".With this debate on the movie concept, the Chinese movie witnessed a remarkable"new wave". The traditional idea that "art serves politics" and the phenomena thatrevolutionary history and revolutionary realism dominated the movie market wereseriously challenged. Since then, the new pattern of Chinese movie consisting ofmain melody movie, art movie and commercial movie has been formed. In thisturning process of Chinese movie, the debate on the movie concept in1980s playeda significant role. It is safe to say that the revolution of Chinese movie concept in1980s get ahead of the movie creation, which directly leaded and speedsed thisturning process. The Chinese movie field developed the comprehensive debate onmovie concept, which was in accordance with the modern transition of the wholesocial and culture. From discarding the culture absolutism brought by The CultureRevolution, returning to the ontology of movie art and debate on the "dramatic"and"literariness" of movies, to the translation and study of western modern movietheory resource, accomplishing the modern transformation of Chinese movieacademic discourse, and to the discussion of the business and entertainment moviesfacing the modern market, contending of breaking the "Xie Jin Mode" in the name ofmodernity, modernization or modernity has become the leading tendency of debate of Chinese movie concept.These collisions of the movie concept and the discussionsof movie theories which had a close relationship with the transition of movieconcepts make1980s the irreplaceable historical position in the whole Chinesemovie academic history. Today, the retrospect of the debate on movie concept in1980s has both historical and practical significance.Under the background of globalization, the development of Chinese movie is in anew crossroad. Reviewing the history, clearing our thinking, making use of thebeneficial resources and reflecting the defects can point to a new direction forChinese movie. This dissertation turns back to the live history of the debate onmovie concept in1980mainland China and re-reads the significant literaturereferring to Chinese movie concept.Under the historical context of "modernization"and the logic of Chinese movie study development and in the base of collection anddiscrimination the most typical academic text in1980s, this dissertation tries togeneralize the modern transformation of Chinese movie conception represented bythese debates and reflect the gain and loss of this transformation in1980s.In the perspective of academic history, this dissertation believes that in this processof transformation which takes modernity as the direction, the Chinese movieemphasized the art ontology, breaking through the political dogma. Thistransformation pushed forward the movie exploration on behalf of the fourth andfifth generation directors, which formed the new wave of Chinese movie in1980s.On the other hand, the debate in this period dependented too much on western movietheories to ignore the reasonable parts and the possibility of modern transformationin traditional concept of Chinese movie so that it had some negative compositionswhich aroused the review and reflection for us while re-reading the debate ofChinese movie concept in1980s.