A Reception Study Of Chinese Films In North America In 21st Century

Since the accession of China to WTO in the new millennium,Chinese films have been making great progress in many areas like industrial development,film-making and cultural influence,and finally entered its golden age.Meanwhile,under the national strategy of‘Culture going global',It has grown into a survival and developmental issue for Chinese film-makers to focus on the policy of Chinese films going-abroad and the reception of international film markets and audience toward Chinese films.As a hyper-competitive market which owns the highest market capitalization in the world,North American film market is an important indicator in measuring the international influence of a film.Thus,it is necessary to research on the reasons of low-reception for Chinese films in North American market,not only from the perspective of national strategies,but also from that of cultural industries and film aesthetics.From the standpoint of film-reception studies and centered on North American acceptors,this thesis tries to explore the reception status of Chinese films in North American film market under the background of globalization in the new century,probes its corresponding reasons and finally came to the conclusion that Chinese films should be established in its domestic market,adhere to the cultural self-consciousness and pay more attention to overseas audience's reception.With a more open international outlook and cultural confidence,Chinese films will exert bigger influence of cultural soft power in a wider range and to a greater degree.This thesis mainly includes three parts.In Chapter One,it reviews the reception history of Chinese films in North American film market in the 21^stcentury with the background of globalization and cross-culture flows.It believes that Chinese films have gone through four periods of reception,respectively as the tough going-abroad period,folklore film period,independent film period and commercial film period(which becomes the mainstream in 21^stcentury).Based on the investigation on Chinese films'release,box-office and comments,the thesis proposes that Chinese films were prosperous during the early 2000s,but landed itself in deep trouble after the year of 2006.In Chapter Two,based on the behavior analysis of North American audience,the thesis demonstrates the major influential factors and reasons for Chinese films'reception in North America,including:?1?the prior viewing tendency of North American audience toward western countries films and English language films;?2?the specific‘expectation horizon'of North American audience toward Chinese films;and?3?the influence of its different artistic expressions in storytelling,artistry and ideology on the aesthetic reception of North American audience.In Chapter Three,it highlights the existing problems of Chinese films in its going-abroad to North America and concludes with some suggestions on improving Chinese films'reception effects on North American film market.