The Expression of Values, Humanity and Aesthetics: The Appearance of Chinese Films in the New Stage
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Xing Zhou
Xing Zhou is the Director of Art Education Research Center, Beijing Normal University, Second-level Professor, PhD Supervisor, Director of Asian and Chinese Film Research Center and Director of the Ministry of Education Drama, Film and Television Professional Teaching Steering Committee.
and
Yuhong Ouyang
Yuhong Ouyang is a postgraduate student in film studies who enrolled in 2021 at the School of Arts and Communication. Beijing Normal University, Beijing, 100875.
Abstract
Since the turn of the 21st century, the creative focus of Chinese films has developed from “main theme films” to “new mainstream films”; this change has led to the transformation of Chinese films as the world’s second largest market, enabling the diversification of artistic creative types and the expression of spiritual connotations. Since 2012, new mainstream films in China have increasingly occupied the leading position in film creation, with many outstanding works being produced. The adherence to China’s mainstream values, as well as the multi-tiered and diverse types of creation, make Chinese films in this new stage an important representative of Chinese culture. The progress of new mainstream films may be seen in relation to the following aspects: cultural values, the expression of humanity, family ethics, and aesthetic expression, all of which are constantly advancing the development of Chinese films.
About the authors
Xing Zhou is the Director of Art Education Research Center, Beijing Normal University, Second-level Professor, PhD Supervisor, Director of Asian and Chinese Film Research Center and Director of the Ministry of Education Drama, Film and Television Professional Teaching Steering Committee.
Yuhong Ouyang is a postgraduate student in film studies who enrolled in 2021 at the School of Arts and Communication. Beijing Normal University, Beijing, 100875.
© 2023 Walter de Gruyter GmbH, Berlin/Boston
Articles in the same Issue
- Frontmatter
- Special Section: Film Accessibility for Blind and Low Vision Viewers in China guest edited by Xiaochun Zhang
- Introduction to the Special Section: Film Accessibility for Blind and Low Vision Viewers in China
- Enhancing Cinema Experience for Visually Impaired Persons in China: A Case Study on Shenzhen
- Mapping the AD Development Patterns Between China and Europe: China, Spain and the UK in Focus
- An Interview with Wei Ma on Audio Description Script Writing for Blind-Accessible Films in China
- Other Research Articles
- A Reconstruction of “Cinema as the Vehicle of Dao”: On the Methodology of Combining Traditional Chinese Culture and Film Theory
- The Modern Transformation of Hong Kong Cantonese Films with Realistic Themes in the 1950s and 1960s
- Modernization of Chinese Film: Nationality, Periodicity, and Current Issues
- Constructing a Theoretical System for Chinese Films and Television: A Review of Academic Views of China’s Mainstream Film and Television Since 2017
- The Expression of Values, Humanity and Aesthetics: The Appearance of Chinese Films in the New Stage
- “She Deserves It All (?)”: Romance and Tradition in Qiong Yao Films of the 1960s
- Lucky Numbers and Greedy Ghosts: Lottery as Trope for the Singapore Dream
Articles in the same Issue
- Frontmatter
- Special Section: Film Accessibility for Blind and Low Vision Viewers in China guest edited by Xiaochun Zhang
- Introduction to the Special Section: Film Accessibility for Blind and Low Vision Viewers in China
- Enhancing Cinema Experience for Visually Impaired Persons in China: A Case Study on Shenzhen
- Mapping the AD Development Patterns Between China and Europe: China, Spain and the UK in Focus
- An Interview with Wei Ma on Audio Description Script Writing for Blind-Accessible Films in China
- Other Research Articles
- A Reconstruction of “Cinema as the Vehicle of Dao”: On the Methodology of Combining Traditional Chinese Culture and Film Theory
- The Modern Transformation of Hong Kong Cantonese Films with Realistic Themes in the 1950s and 1960s
- Modernization of Chinese Film: Nationality, Periodicity, and Current Issues
- Constructing a Theoretical System for Chinese Films and Television: A Review of Academic Views of China’s Mainstream Film and Television Since 2017
- The Expression of Values, Humanity and Aesthetics: The Appearance of Chinese Films in the New Stage
- “She Deserves It All (?)”: Romance and Tradition in Qiong Yao Films of the 1960s
- Lucky Numbers and Greedy Ghosts: Lottery as Trope for the Singapore Dream
