From art to commerce: Chinese cinema in the era of reforms

My dissertation addresses the formation and characteristics of Chinese art and commercial entertainment cinemas as well as the transition from the former to the later since the mid 1980s by tracing the rise and fall of both. Specifically, it explores the political, economic, and cultural factors conducive to the rise of Chinese cinema's first entertainment wave from the mid 1920s to the early 1930s, its first formidable art wave from the late 1970s to the mid 1980s, and its transition from art to popular entertainment wave since the mid 1980s. More specifically, three case studies are used to explore a range of factors in the development of the two waves and the current transition from one to the other. The first case study explores the rise of Chinese cinema's first entertainment wave and the cultural/cinematic heritage of the leading popular genres during the period. The second case study explores the political, economic, and cultural factors conducive to the rise of Chinese cinema's first art wave which culminated in the early to mid 1980s with the arrival of Chinese New Wave. The third case study examines, economically and stylistically, the cinematic transition from New Wave art film to post New Wave commercial film of the Fifth Generation filmmakers, Chen Kaige, Tian Zhuangzhuang, and Zhang Yimou. It also discusses a few prominent cinematic trends within the general wave of commercial entertainment films. It further assesses the state of Chinese cinema in the late 1990s and beyond. The first two case studies pave the ground for the third case study concerning the current transition from art to entertainment cinema. The political economy and culture of Chinese cinema during the periods are highlighted by zeroing on the key film reform measures and the concomitant, reform-oriented film discourse foregrounding either a populist or a elitist cinema.