The subtitle translation not only needs to consider the audience’s horizon of expectation and acceptability,but also has to achieve the significance of spreading Chinese culture to foreigners.This paper explores the ...The subtitle translation not only needs to consider the audience’s horizon of expectation and acceptability,but also has to achieve the significance of spreading Chinese culture to foreigners.This paper explores the rules,principles and methods of the subtitle translation of Chinese films from the perspective of reception aesthetics.展开更多
THE story of Wudang swordsman Li Mubai is one that resonated with moviegoers across the globe. The thrilling martial arts sequences, sumptuous costumes and sweeping musical score of Ang Lee＇s four-time Academy Award-...THE story of Wudang swordsman Li Mubai is one that resonated with moviegoers across the globe. The thrilling martial arts sequences, sumptuous costumes and sweeping musical score of Ang Lee＇s four-time Academy Award-winning Crouching Tiger, Hidden Dragon （2000） ensured its position as one of the greatest non-Hollywood films of the new millennium and the highest-grossing foreign language film in Hollywood history.展开更多
Taking Ne Zha as an example,this paper analyzes the strengths and weaknesses of Chinese animated films at the presentstage.Under the condition of both opportunities and challenges,some measures to develop Chinese anim...Taking Ne Zha as an example,this paper analyzes the strengths and weaknesses of Chinese animated films at the presentstage.Under the condition of both opportunities and challenges,some measures to develop Chinese animated films are proposed.展开更多
The changes in women’s life in China from the 1950s to the 2000s can be analyzed by women-themed films.This article distinguishes between popular films and niche films by distinguishing female-themed films in the 195...The changes in women’s life in China from the 1950s to the 2000s can be analyzed by women-themed films.This article distinguishes between popular films and niche films by distinguishing female-themed films in the 1950s,1980s,and 2000s,through comparative analysis,summarizes the development and breakthroughs of Chinese feminism in these three periods,and uses Chinese female-themed films as the material to summarize the development trend of Chinese feminism since the 1950s.展开更多
The 2009 hit espionage thriller The Message （Fengsheng 风声） was widely regarded as a milestone in Chinese genre filmmaking in the new millennium. Differing from Socialist espionage films, contemporaneous espionage ...The 2009 hit espionage thriller The Message （Fengsheng 风声） was widely regarded as a milestone in Chinese genre filmmaking in the new millennium. Differing from Socialist espionage films, contemporaneous espionage TV series as well as its literary original, the film is first and foremost characterized by its plenitude of torture scenes. A textual critique on these torture scenes reveals the generic elements from both Socialist revolutionary classics and American horror films. The genre mixing in The Message produces the sensorial pleasure of a body genre film while being safeguarded by its revolutionary packaging. As a specimen of the Chinese private film sector＇s aggressive dual commercial and political campaign, The Message illustrates the strategies of Chinese genre filmmaking and manifests the splitting logic in the Chinese film industry.展开更多
An important motif in science fiction films is the encounter between different species--usually between human kind and alien kind. In films of this type, both anxieties and hopes are imagined and exhibited. By examini...An important motif in science fiction films is the encounter between different species--usually between human kind and alien kind. In films of this type, both anxieties and hopes are imagined and exhibited. By examining three science fiction films made in Hong Kong, Taiwan, and Chinese mainland in the late 1970s and early 1980s--that is, The Super Inframan （Zhongguo chaoren, 1975）, God of War （Zhanshen, 1976）, and Death Ray on Coral Island （Shanhudao shang de siguang, 1980）--this paper analyzes the ideologies and anxieties behind such encounters. These films present different ＂Chinese＂ pictures, revealing the fluidity of Chineseness, as well as the variety of frameworks within the genre of Chinese-language science fiction films. In this time of globalization, it is important to examine these early science fiction films in order to explore the relation between local social concerns and their artistic presentation.展开更多
文摘The subtitle translation not only needs to consider the audience’s horizon of expectation and acceptability,but also has to achieve the significance of spreading Chinese culture to foreigners.This paper explores the rules,principles and methods of the subtitle translation of Chinese films from the perspective of reception aesthetics.
文摘THE story of Wudang swordsman Li Mubai is one that resonated with moviegoers across the globe. The thrilling martial arts sequences, sumptuous costumes and sweeping musical score of Ang Lee＇s four-time Academy Award-winning Crouching Tiger, Hidden Dragon （2000） ensured its position as one of the greatest non-Hollywood films of the new millennium and the highest-grossing foreign language film in Hollywood history.
文摘Taking Ne Zha as an example,this paper analyzes the strengths and weaknesses of Chinese animated films at the presentstage.Under the condition of both opportunities and challenges,some measures to develop Chinese animated films are proposed.
文摘The changes in women’s life in China from the 1950s to the 2000s can be analyzed by women-themed films.This article distinguishes between popular films and niche films by distinguishing female-themed films in the 1950s,1980s,and 2000s,through comparative analysis,summarizes the development and breakthroughs of Chinese feminism in these three periods,and uses Chinese female-themed films as the material to summarize the development trend of Chinese feminism since the 1950s.
文摘The 2009 hit espionage thriller The Message （Fengsheng 风声） was widely regarded as a milestone in Chinese genre filmmaking in the new millennium. Differing from Socialist espionage films, contemporaneous espionage TV series as well as its literary original, the film is first and foremost characterized by its plenitude of torture scenes. A textual critique on these torture scenes reveals the generic elements from both Socialist revolutionary classics and American horror films. The genre mixing in The Message produces the sensorial pleasure of a body genre film while being safeguarded by its revolutionary packaging. As a specimen of the Chinese private film sector＇s aggressive dual commercial and political campaign, The Message illustrates the strategies of Chinese genre filmmaking and manifests the splitting logic in the Chinese film industry.
文摘An important motif in science fiction films is the encounter between different species--usually between human kind and alien kind. In films of this type, both anxieties and hopes are imagined and exhibited. By examining three science fiction films made in Hong Kong, Taiwan, and Chinese mainland in the late 1970s and early 1980s--that is, The Super Inframan （Zhongguo chaoren, 1975）, God of War （Zhanshen, 1976）, and Death Ray on Coral Island （Shanhudao shang de siguang, 1980）--this paper analyzes the ideologies and anxieties behind such encounters. These films present different ＂Chinese＂ pictures, revealing the fluidity of Chineseness, as well as the variety of frameworks within the genre of Chinese-language science fiction films. In this time of globalization, it is important to examine these early science fiction films in order to explore the relation between local social concerns and their artistic presentation.
