The Eastern Image: On "The Asian New Wave" And The Chinese Movie Under The Background Of Globalization

In the last 20 years of the 20th century, the European tradition artistic movie seems to gointo a difficult position;Hollywood's commercial movie passes unimpeded in the variouscountries, and has already obtained the control status in the world movie market. The Asianarea has started a new tide movement quietly;toward a way different with the Europeantradition movie and the American Hollywood mainstream movie, a transformation has startedquietly.On the whole, taking the Hong Kong director Xu Ke's "Butterfly Changed" as thebeginning, during several years, a kind of new wave has rapidly spreaded to places such asTaiwan, South Korea, Iran, Japan, then have affected the rising of "the five dynasties" inChinese inland. One group of rich creativity Chinese youth directs mount the film circle,taking each one unique phantom world as the expression way, started their pupation forbutterfly's process. Some young directs' works wined great awards again and again at someworld big film festivals, having made clear one kind of new movie model' birth and a newmovie time' arrival by their whole high attitude and each different artistic style to the world.This article draws up from four aspects to carry "the Asian new wave" movie movementon the discussion.First, background – crystallization between the Europe cultural heritage and Asian localculture under globalization. This part summarized the background and the reason from threeaspects which "the Asian new wave" produces. First, looked from the origin that, Italy "thenew realism" and France "the new wave" as the two biggest tidal current of postwar whichinfluence world movie's develop, have prepared for the revival of the Asian movie from boththe theory and the practice;Next, under the background of the globalization, movie as onekind of the pop culture has been under the especially serious impact, however, has urged thevarious countries' (area) national movie's revival;Moreover since 1970s, the local interiorenvironment of each country's change also has prepared the soil for the new wave'sproduction.Second, breaking through – a revival way for bringing honor to the national culture'sindependent spirit and revealing the national subjectivity. The Asian new wave moviemovement is a spontaneous movie art movement;it has not formed such unified style andesthetics characteristic like Italy's new realism, also has not had a spiritual leader Bezant likethe French new wave,;it just like the above mentioned, is a spontaneous and national revivalmovement by the Asian movie workers. But behind this imposing movie movement, the newwave still manifested the multitudinous uniformity and different esthetic trend which isdifferent from the European and American mainstream movie. This part mainly launches theelaboration from the next four aspects: (1) eastern philosophy and local mood's filmexpression;(2) the artistic main body's rigid pursues (3) commercialization's attempt initially(4) " school of non-national boundary" and strengthening between Asian transnationalcooperation.Third, the exceptional case of China (mainland): From "the five dynasty" to the "afterfive dynasty". Mainland is an area of extremely special in the "new wave" countries. Becauseit had experienced the transformation from the planned economy to the market economy, sothe Chinese movie had to walked a way from neglecting the market rule to the path whichhaving to face the marketability. This part divides into two parts: (1) rising during the time of"the new wave ": "the five dynasty's" success under a special movie system. At the beginningof 1980s, "the five dynasties" appears suddenly, but rigidly for winning an award in theartistic creation and indulging at the international film festival cause a result that they fallinto the difficult position of being unable rapidly adapting the marketability request after1990s;(2) reforming and exploration at the "past new wave" time: "the five dynasty " and"the new dynasty" close up gradually to the mainstream words. "The new dynasties" mountsthe film circle in the beginning of the 1990s, but receives the five dynasty' influence andtheir own position of localization;"the new dynasty" had to live in an undergrounddevelopment condition in the long time. At the turn of the new century, "the five dynasty"and "the new dynasty" at the same time started their difficult transformation.Fourth, enlightenment – how to persist and develop the national movie under a conditionof globalization. "The new wave" directs have practiced more for how to resist Americanglobalization and to develop their own national movie. These attempts and the explorationwill have the important enlightenment significance regarding the Chinese movie's nextdevelopment. This part discusses the enlightenment which "the Asian new wave" has broughtto Chinese movie from three aspects: (1) Artistic natural disposition and the survival rule;(2)The resisting of culture hegemony and the carring forward of the local culture (3) China'smovie organizational reform.As the last worldwide movie movement of the 20th century, "the Asian new wave"movie has obtained sufficiently result which has held a high esteem in the European andAmerican movie circle. But what is more important, the practice has provided the preciousmodel to China's movie development, and made a beneficial attempt for how to develop thenational movie under the globalization background.