A Research Of Chinese Blockbuster’s Occurrence And Development

Chinese blockbuster, which has been an important part of the contemporary Chinese film circle, begins to occur since the year of 2002, after the production of the film Hero. From that time on, Chinese film as a whole, has stepped into the “Era of blockbusters”. Chinese blockbusters, on the one hand, are the products of the economic and cultural globalization. They are yielded after learning from the Hollywood industrial rules, business aesthetic principles as well as skill and experience practice. During the process of the industrialization reform, the oversea blockbusters, mainly based on Hollywood blockbuster, have brought a kind of creative destruction to Chinese film market; on the other hand, it is an achievement from regulating the cultural soil and artistic resources of the native land. Chinese blockbusters are struggling to break out of encirclement by trying to find a new path for living and the way for living so that it can finish its self-salvation.This thesis will be divided into four parts. The prodrome, as the first chapter, presents a brief elaboration of the topic and summarizes the related literatures. The second chapter is “the blockbuster and former Chinese blockbuster” which primarily discusses the concept, content and feature of blockbuster and the brief developing sequence of Hollywood blockbuster. Secondly, the thesis sorts out the indigenous resources of China before the Era of Blockbuster which mainly relates to discussions about Chinese major revolutionary and historical films as well as some of the swordsmen films and sad dramas with huge market/social influence. The third chapter investigates and analyses the environment and development of Chinese blockbuster in the period of 2002 to2007 which contains three parts. Firstly, the “creative destruction” on the Chinese films coursed by the Hollywood movies, especially Hollywood blockbuster. Secondly, the occurrence of Chinese blockbuster in the state of exotic lure. Thirdly, the critique of swordsmen film. In the fourth chapter, the thesismainly sorts out and studies the Chinese blockbusters from 2008 to 2013, which have experienced the native reposition. It contains the following four parts. First, the new mainstream blockbuster combined with the elements of both capital and political. Second, the gradually declined swordsmen film with the trend of a traditional recurrence. Third, the Chinese fantasy blockbuster originates from digging indigenous resources. Forth, the Chinese comedy which fully embodies the audience interest and game spirit.This thesis presents that Chinese blockbuster is an important achievement in the process of the Chinese film industry reform which succeeds in changing the state of the whole Chinese film industry from slump to rapid growth. The box office of both the Chinese film market and the domestic films has maintained a double-digit growth in the past consecutive ten years, during which Chinese blockbuster has made great contributions. However, in the future development, Chinese blockbuster still needs to further strengthen and broaden on the aspect of how to better inherit and disseminate the mainstream culture, enhance its cultural character and enrich the artistic expression.