| As a genre film originated from the United States,urban romance film has been popular in the world film history for a long time,with a unique genre mode and plot motif.Since the reform and opening up in 1978,the mainland films have been constantly merging with the wor ld film trend.Since the introduction of various Hollywood commercial blockbusters in the early 1990s,the mainland has also begun to prod uce a large number of urban romance films,and gradually evolved into mature ones.Since the beginning of the new century,with the commer cialization trend of Chinese film market,diversified and rich genre films have become the main force for Chinese films to go abroad.Amon g them,urban romance films in mainland China are also one of the mai n genres of films spreading overseas,covering more and more areas an d influencing much more.Especially in France,the land of love,it h as received constant attention from local audiences and media.In recent years,Chinese film market has been booming,with the t otal box office of the mainland exceeding 60 billion yuan in 2018.Ch ina is on the verge of overtaking the U.S.as the world's largest sin gle country film market.The influence of Chinese films abroad has al so been greatly improved.It only took a few decades for French audie nces to go from having no access to mainland urban romance films to b eing able to watch the latest mainland urban romance films in ordinar y cinemas.Therefore,this thesis focuses on the cross-cultural recep tion of Chinese mainland urban romance films in France in the new cen tury,and academic studies on this topic are scarce and lack of syste m.Most of them are scattered in newspapers,networks and other media sporadic reports or interviews.The discussion structure of this the sis is to first sort out the general situation of the cross-cultural acceptance of mainland urban romance films in France,extract the tim eline of their cross-cultural acceptance in France,and divide the cy cle into stages and analyze the characteristics and causes;Then we e xamine the cross-cultural acceptance channels of mainland urban roman ce films in France,and describe the multi-layered and interlaced acc eptance channels from three aspects:traditional media such as newspa pers,magazines and television?international and regional film festi vals and network new media.This thesis chooses three typical cross-c ultural symbols in mainland urban romance films to illustrate the acc eptance and deviation of these cross-cultural symbols by French audie nces.Finally,from the French audience's general understanding and t he professional criticism of the French film critics these two dimens ions to see the mainland urban romance film cross-cultural acceptance effect.This thesis has collected the box office data,news reports,medi a evaluation and other research materials of Twenty-first Century's mainland urban romance films in France as widely as possible,and has interpreted the original French materials as far as possible,trying to gain insight into the overall acceptance of mainland urban romanc e films in France from the original research data.But in the process of research,also encountered the lack of data,data fuzzy,the lack of references and other research problems.Therefore,this thesis on ly gives a brief introduction and finds that the values and love view s conveyed by 21stcentury's urban romance films in mainland China ar e quite different from the aesthetic expectations of French audiences.A small number of French audiences and film critics say they underst and the director's intentions and can learn about the fast-developing reality of China through mainland urban romance films.But a more re alistic acceptance dilemma is that French audiences and critics have been critical of the lavish modernity,shallow love and distorted cul tural values portrayed in mainland urban romance films.Chinese filmm akers have a long way to go to improve the cross-cultural acceptance and influence of urban romance films in France. |
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