Film Theory Notes

Author: Guo Xiaolu
Publisher:
Publication Date: 2002-07-01
Features: Film theory is a frustrating topic. China basically only has film criticism and has never had film theory in a true sense. Like the theory of all categories of art, film theory has completed the transition from ontology to methodology. Today's film theory is a methodological analysis of specific film works because the exploration of the laws of film creation can only be conducted when people have not yet grasped the truth of film ontology. Guo Xiaolu, a woman who feels a bit like a medieval knight, shows a natural warmth in caring for the helpless struggles and categorization of women on the screen. She soaring to the top, yet forced to climb upwards despite being trampled underfoot by towering logic. Guo Xiaolu is such a form of care, "bringing still sincere personal reflections, wrapped in some knowledge that may be mocked by intellectuals, entering the real problems of Chinese film creation through the dry form of writing, making the most effective theoretical interpretations, and proposing the path we believe that can see the light." Guo Xiaolu believes that film criticism, pure academic film theory, film history, and film practical theory should all honestly face their time. Honesty, effectiveness, and sharpness should be the temperament of contemporary film theory, especially the temperament of Chinese film theory. Although this temperament will face backlash and pain, only by feeling the pain can we feel that our theory is truly alive.