On The Contention Of Chinese Movie Discourse In The New Century

According to Foucault’s theory of discourse,The power of discourse is mainly refers that the subject can control someone by all kinds of symbolic rules.The connotation of film discourse power is also the same. Since the new century,the power of discourse have been assigned again.At the end of 2001,By the terms of trade, the number of China’s annual foreign films were increased from 10 to 20. It had a serious threat to the development of domestic film,so domestic mainstream film began to go to the road of the commercialization of competing for the audience.To prevent the thought penetration of Hollywood movie,The government department has developed the film industry.for the film at the box office,Most of the director spare no effort to meet the tastes of the audience, and even lower artistic standards to cater to or to please the audience. Therefore,the audiences have gradually controlled the power of discourse.Faced with such a situation,the government departments and creators began to strengthen the leading force of its own and weak the power of increasingly strong audience discourse.Compared with the competition in the film discourse power in the historical period,Current film discourse competes in different ways.The former is mainly manifested to seize the film production resources and the communication channels, The man who holds the resource can control the discourse power.due to the Internet and globalization background, Current film discourse contention shows a two-way interactive features.the audience is no longer passive acceptance, but has the a rebuttal of power. Besides,in the process of competing the discourse power with the government department,the audience seizes the upper hand.In this period, The main feature of competing the discourse power of the film is the competition for public opinion in the network space.This paper is divided into four chapters,In the first chapter, The characteristics of the audience for the movie discourse power is from the passive competition to the power surplus.In the second chapter, In the discourse power struggle,The creator is from aphasia to sound.In the third chapter,The attitude of the government department to the audience is from approved to exclusive. In the last chapter, it focuses on the crisis of the totalitarian regime, and provides a useful reference for the current problem of the imbalance of the distribution of discourse power.Through the study in the field of audience, between the creator and the government of film discourse contention problems,and the analysis between game and impact,This article attempts to explore the best state of three groups of discourse power configuration.This study is not limited to the field of the film, but has risen to the ideological level.The audience and creator of civil power are included in the civil society, The government departments and institutions such as the official news media are regarded as the social politics, the article thinks that only civil society and political society reaches a balance of mutual restrict and promote each other, in order to promote the healthy development of the state and the individual life.