Translated Abstract
By the genre film we mean the various kinds of film modalities which are produced in line with the requirements of different categories or modes and can be recognized not only by the audience but the directors as well through the narration traditions they both are familiar with. The concept of genre film runs counter to the traditional criteria which emphasized “the works of art should be creative and original”, and is often termed as vulgarism and rigidity. However, film itself as a kind of industry, different from the traditional art, must make its way upwards through the audience’s consumption and re-consumption, genre film is the very outstanding model that attracts moviegoers voluntarily into the theatre time and again by grasping the audience’s psychology. In this sense, genre film serves as the pillar for the industrial operation of the film industry and also keeps film’s production going. There was a period in China that the influence of such ideologies of emphasizing the value of instructions and doctrines against that of entertainment, along with the restraints of non-industrialized film mechanism made the genre film unable to get its due development. Since 90s, with the development of the market-oriented economy, the government and the film production circle had reconsidered the position of Chinese films and the directions of their development, the Chinese films began to take their step towards industrialization. Under the competition mechanism of market, the situation of low output and bad qualities constituted the main obstacle for its further development, so in front of the fierce competition and the crisis, Chinese films must make breakthroughs in terms of perfection, vocationalization and the promotion of the quality regarding its congenital deficiency. At the same time, in a cultural context in which the popular culture prevails, people’s psychology of watching films take on a tendency of satisfying personal desire as the inferior basis while entertainment as the external form, the stylization of Chinese films can meet such desire of the audience for entertainment. In current film market, the successive successes achieved by Feng Xiaogang, the famous director with his Happy-new-year films well illustrate the inevitability and feasibility for the development of genre film in China. The realization of film stylization in China is a systematic work requiring long term and arduous efforts that cannot be achieved in a very short time. This thesis attempts to propose some suggestions as regards the current problems. Firstly, film Director-centered and Star-oriented system should be established in the film operation mechanism secondly, in the films creation aspect, the film director should not only discord the old bias against the genre film and form the consciousness for it, but absorb the successful experiences from Hollywood, absorbing does not mean absolute copy, instead it should put emphasis on reflecting the feelings of his people, the culture and mentality in an effort to keep his own features. Also the genre film must attach equal importance to the worthiness of watching and entertainment. The production of genre film must find its outlet for sales in the market and the features should comply with the market demand. Moreover, according to a survey which indicates that comedy and horror films are the most popular ones with the audience in China for the time being, so in the infant stage of stylization of the Chinese films, we may make breakthroughs with the comedy and horror films. As for the negative effects brought about by the stylization of films, we should establish relevant rules and laws to address them.
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