Study On Chinese Realism Film

This dissertation examines realism of films, its predecessor, origin, forms and the core subject– trueness. A systematic abstraction approach is employed in this research. Based on this examination, it analyzes in depth the political spectrum and the reconstruction of entertainment boundaries of film realism. It attempts to find out to what extent film realism can solve practical problems that is faced by film making in China today, or at a minimum to propose an alternative to solving today's problems in Chinese film making.The introduction explains the significance and value for film realism research. Following a thorough review in the relevant literature, the weakness of current research has been found out. This leads to the specification of the rational for this study followed by a description of research methods adopted in this work.The predecessor and the cause of formation of film realism are examined inChapter One. It is shown that film realism, as one type of literature realism, evolved from the literature realism. Thus, it inherits the contradiction and retains the major characteristics of literature realism.Chapter two discusses the four formations of film realism which are reciprocal causation to each other including leftist film realism, socialism film realism, pioneer film realism and the neo-realism of film realism. It is demonstrated that the four are advanced gradually from one to another through a transition.Trueness, i.e. the image trueness and the logical trueness, as the core issue of film realism is examined in Chapter Three. The purpose of this chapter is to illustrate the tension between the two types of trueness and reality in order to discuss whether the"trueness"would be able to reflect the reality and how much it could if it can.With the understanding of trueness, Chapter Four outlines the political spectrum of film realism to indicate the level of political impact of the trueness in the ideology world in the history of Chinese film making and the significance of film realism nowdays in China.As the last chapter, Chapter Five illustrates that the film entertainment boundary as a cultural industry has become an economic phenomena in China after the three moves theory. It intends to discuss the possibility and necessity of the boarder reconstruction in the process of Chinese film industry.The conclusion session indicates that a major revolution has been underway caused by the technology of digital film. There is a possibility that the current film realism would be replaced by the virtual film realism that is a different subject outside the scope of this study.