Text Analysis And Communication Of Research: Relationship Honeymoon In Japan On The Screen Japanese Film China (1978-1989)

The communication between Chinese Cinema and Japanese Cinema, which is universally recognized as world-class cinema, constitutes an important part of Sino-Japanese cultural communication. Since the dawn of film in both countries, the cultural communication of film has maintained close interactions, except for the interruption during the the cultural revolution period. In particular, during the Honey Moon period (1978-1989) of Sino-Japanese relations following the normalization of Sino-Japanese diplomatic relations, as the tremendous changes occurred in the Chinese economic society, the cultural communication flourished as never before, and the large numbers of Japanese films introduced to China during this period received the zealous adoration from the Chinese audience. The cultural communication between Chinese Cinema and Japanese Cinema has hitherto played a decisive role in the education of "Sino-Japanese Friendship" that China has developed for all citizens, constituted a glorious prospect for the mutual understanding and communication between the people of the two countries, embodied the trend in history and the will of the people, and at the same time had comprehensive, positive and far-reaching influence as regards to film creation on the Chinese Cinema which had been ravaged by the ten-year-catastrophe, and advanced the progression and development of the culture and art in both countries. Special mention must be made of the communication between the film cultures of China and Japan which functioned as a nonnegligible factor in the process of advancement in the international politics and economy of the two countries.2012is the40th anniversary of the normalization of Sino-Japanese diplomatic relations, and it is also "Friendship Year of People-To-People Exchange"; and as the prospect for China and Japan to cooperate more extensive aspects in film becomes more and more significant, systematic studies on Sino-Japanese film communication in more depth thus becomes a necessity. Thus by aiming at Honey Moon Period of Sino-Japanese relations, a golden period of Sino-Japanese film communication, this paper teases the mode of transmission and the typical text of Japanese Cinema in Mainland China, pursuing full investigation and academic discussion of the artistic characteristics of the image and the complicated impact on the text of Japanese Cinema during this period, constructed a multi-dimensional perspective of the diffusion and acceptance of Japanese Cinema in China, revealing the secret of the diffusion of Japanese Cinema during the Honey Moon Period of Sino-Japanese relations and the uniqueness and far-reaching significance of this cross-cultural acceptance.Including the introduction and conclusion sections, the complete thesis is divided into five chapters. First in the introduction section, the author introduces in sequence the delimitation of time for the Honey Moon Period of Sino-Japanese relations as well as the background, the current status, train of thought, and meaning of this research topic; Then it is teased out in the following chapter the three modes of transmission of Japanese Cinema in Mainland China, and then it discusses respectively Kimi yo fundo no kawa o watare in Chapter two as a case for the modes of transmission,the propagation characteristics and text features of Japanese commercial genre film in Mainland China, and Sandakan No.8in the third chapter as a case for the modes of transmission of Japanese war history theme films in Mainland China as well as the propagation characteristics and text features of this kind of film. Finally, the conclusion sections discusses the characteristics of the transmission and the acceptance and transformation of Japanese Cinema during the Sino-Japanese Honey Moon Period.