An Analysis On The Survival Space And The Commercialization Of The Chinese Literary Film In The 21^st Century Zhao Yingxue

With particular artistry and profound idelological content, literary film hasbecome one of the film types that improve the evolution of the film language andholds an important position in the world film history right from the beginning. Due tothe special historical environment and political system and policies, literary film didnot develop into one of the main film types in China, plus, the academic circles havenot yet clearly defined "literary film", However, these facts haven't affect the generalpublic being familiar with literary film.Because of the special historical environmentand political system, the development of literary film has been blended and graduallyvaried in China: started as independent film in the 1990s, literary film has witnessedstages like underground film and auteur film; in the new millennium, along with theadvance of the industrialization of film as well as more and more combined with themarket, Chinese literary film gains the current form of popular literary film. However,during this process the living space of Chinese literary film has failed to be extendedsignificantly. Squeezed by the domestic commercial films, Chinese literary filmsshare little right of speech. After 2010, with the emergence of the internet, Chinese literary film was conceded a relatively large space of development and themainstreaming of the theme, the plot and the shooting technique has graduallyattracted the attention of audience. Thanks to the popularization and publication withcommercial elements, some of the Chinese literary films have even received great box :office success with no precedent. It seems that the Chinese literary film is enjoying its time of prosperity. But generally speaking, the majority of the Chinese literary film isstill in the difficult market situation with the risk of failing to recover the productioncosts. Their survival circumstances are not optimistic. Via introducing the evolutionof the Chinese literary film, this paper is aimed to provide definitions and analysis onthe related subjects. In the meantime, we would also like to advise on the survival, thedevelopment and the commercialization of the Chinese literary film according to its situation of production, popularization, publication and projection in the 21st century with the consideration of the context of the film market.Apart from the introduction and conclusions, the work is divided into four chapters.In the introduction, we have briefly described the context, the current situation, the thoughts, the methods and the sense of the research related to our theme,in order to be generally explicit about the research object and the way of studying it.In the first chapter, we have summarized the opinions and definitions on "literaryfilm" from the educational circles,the public and the film industry. With this as basewe definite and describe the "literary film" that is going to be studied in our thesis andsummarize its esthetic types formed in the history of its evolution, marking thekeynote of the whole work.In the second chapter, with the perspective of the entirety of the Chinese film, westart from its development in the 21st century and go deep into the origin and evolution of the Chinese literary film, discussing its development under the generalcontext. Based on the former discussion, from the angles of the politics, commerceand the consumer phycology, we make analysis on the external factors that influencethe development of the literary film and draw the appearance of the Chinese literaryfilm in the 21st century.In the third chapter, according to the data gathered upon the creation and themarket situation of the Chinese literary film in the new century, we study fromappearance to core on the problems caused by its immaturity, such as the :insufficiency in the ideological appeals and connotations, the compromise between artand commerce on the forms of creation, the limitations, carelessness and casualty onthe popularization and publication, and the over chase of interest during projection,etc. In order to revel the significance of literary film, we discuss its ecological construction from the aspects of completing the industrial structure, forming theesthetic preferences and supporting young directors. And analyze the cause of thedifficult situation of the Chinese literary film by comparing it horizontally with thecommercial films and vertically with the history of itself.In the final chapter, after the summary of problems in the former part and withthe analysis based on concrete examples, we propose the resolutions particularly fromthe perspectives of subjective creation, consideration on the audience, the terminal of popularization and the relating policies. The first is the perfection on the creating levelby the control of the content, rhythm and actors. The second is to subdivide themarket and obtain the location with more exactitude considering the feature of thefilm and the preference of the audience. The third is the publication, with commercialelements spread online and activities aimed to the particular audience combined so asto achieve the maximal effect. The forth is to choose the schedule appropriatelyaccording to the own characteristic of the film and other films shown in the same period, in the meantime to keep on the publication. Finally, we advise on theexpansion of the living space and commercial paths of the Chinese literary film fromthe aspects of state policy, specialized funds and the construction of ex-art-film linewith the considerations elevated to the level of the domestic system.