2002Journal of Tv UniversityRequires access

The Globalist Language Situation and the Chinese Native Film

Guo Pei-yun

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Abstract

Now it has because a very urgent question for the Chinese native film to get out of its difficult position in the globalist language situation. The only way out for the Chinese native film is to reflect Chinese national cultural tradition in the atistic form which has accumulated very rich aesthetic experiences and emotions;to take great interest in the Chinese traditional culture and surpass the traditional culture; to reflect the presentday conditions in the Chinese society ,the fate of the Chinese ordinary people and the changes in their order of values ,and to take pains to dig up the oriental poetic emotion and poetic mood in the Chinese traditional aesthetic ,and combine them with modern movie language. Only in this way, the Chinese native film can find its own place in the field of movie art in the world.

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What this paper is about

Now it has because a very urgent question for the Chinese native film to get out of its difficult position in the globalist language situation. The only way out for the Chinese native film is to reflect Chinese national cultural tradition in the atistic form which has accumulated very rich aesthetic experiences and emotions;to take great interest in the Chinese traditional culture and surpass the traditional culture; to reflect the presentday conditions in the Chinese society ,the fate of the Chinese ordinary people and the changes in their order of values ,and to take pains to dig up the oriental poetic emotion and poetic mood in the Chinese traditional aesthetic ,and combine them with modern movie language. Only in this way, the Chinese native film can find its own place in the field of movie art in the world.

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Available abstract

Now it has because a very urgent question for the Chinese native film to get out of its difficult position in the globalist language situation. The only way out for the Chinese native film is to reflect Chinese national cultural tradition in the atistic form which has accumulated very rich aesthetic experiences and emotions;to take great interest in the Chinese traditional culture and surpass the traditional culture; to reflect the presentday conditions in the Chinese society ,the fate of the Chinese ordinary people and the changes in their order of values ,and to take pains to dig up the oriental poetic emotion and poetic mood in the Chinese traditional aesthetic ,and combine them with modern movie language. Only in this way, the Chinese native film can find its own place in the field of movie art in the world.

Key concepts: Poetry, Aesthetics, Chinese language, Order (exchange), History, Sociology, Art, Literature

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