History of Chinese Film Criticism

Author: Li Daoxin
Publisher:
Publish Date: 2002-06-01
Features: This book has the following characteristics:
1. From the overall development pattern, the nine periods of the development of Chinese film criticism can actually be summarized into three stages: from sociological criticism of film to ontological criticism of film, and finally to cultural criticism of film. It can be said that this reflects the historical destiny of Chinese film criticism moving towards depth, breadth, and progress.
2. Film criticism is also a critique of the four elements of film, namely, a critique of the framework composed of film creators, films, universes, and film audiences. Chinese film criticism has basically followed a path from "universe" criticism of films to "film" criticism, and finally to a comprehensive critique of the four elements and interactive relationship critique. Thus, film criticism no longer has many dark corners that critics have not touched or dared not touch.
3. Film criticism is becoming increasingly closely related to film theory and film, which makes film criticism continuously move towards logical criticism and a critical paradigm that integrates the two. In this way, film criticism will inevitably become thicker and more convincing.
4. On the surface, film criticism seems to be becoming increasingly distant from film creation practice; in reality, their relationship is becoming increasingly profound. By today, film creation should have passed the stage of needing technical guidance, ideological guidance, and artistic guidance, and is now seeking concepts and methods from film criticism. Film criticism has perfectly met this demand from the creative field, gradually becoming more theoretical and systematic.
Note: The line breaks () are preserved as they are in the original text.