Chinese State Ideology and Filmmakers Since the Cultural Revolution: 1966-1999 Revolution: 1966-1999
| dc.contributor.author | An, Dong | |
| dc.date.accessioned | 2022-08-17T22:20:05Z | |
| dc.date.available | 2022-08-17T22:20:05Z | |
| dc.date.issued | 1999-12 | |
| dc.description | 101 pages | en_US |
| dc.description.abstract | Chinese film stands as a cinematic barometer for the country's ideological vicissitudes. This research studies the relationship between Chinese film and changing government political philosophy. This interaction is examined in three critical periods in light of film as a tool of the revolution, the notion of cultural imperialism, and China's entrance into the global economy. During the Cultural Revolution (1966-1976), Chinese film was reduced to "model Peking opera" films. In the New Era (1979-1989), China's film production and the filmmakers' creative exploration grew rapidly. The 1989 Tian'anmen Square movement ushered in the Post New Era, in which films that glorify the Communist Party's past and present flourish. Reinforced content control and the market economy both currently contribute to Chinese film's increasing global profile and the filmmakers' more careful political engagement in their films. | en_US |
| dc.identifier.uri | https://hdl.handle.net/1794/27498 | |
| dc.language.iso | en | en_US |
| dc.publisher | University of Oregon | en_US |
| dc.rights | Creative Commons BY-NC-ND 4.0-US | en_US |
| dc.subject | Communism | en_US |
| dc.subject | political aspects | en_US |
| dc.subject | film making | en_US |
| dc.subject | film industry | en_US |
| dc.title | Chinese State Ideology and Filmmakers Since the Cultural Revolution: 1966-1999 Revolution: 1966-1999 | en_US |
| dc.type | Thesis / Dissertation | en_US |