Communication Studies Perspective on Chinese Film and Television Art

Author: Lin Lujian
Publisher:
Publish Date: 2006-12-01
Features: The author analyzes the vertical development and multi-angle expansion of Chinese film and television art from the perspective of communication theory, compares the prospects of the international film and television industry, and proposes broader expansion possibilities. Film and television art is a mass art that has entered the homes of ordinary people and become a part of daily life. People often discuss it over tea and meals, praising or criticizing, expressing wonder or indignation, sympathizing or feeling sorrow. Thus, people have consciously or unconsciously engaged in the appreciation and criticism of film and television art. However, the appreciation and criticism of film and television art not only have a mass and entertainment nature but also possess artistic and scientific qualities. The latter is actually at a higher level and has a stronger theoretical flavor. Overall, China's film and television industry gives the impression of being relatively abundant, yet the variety seems somewhat limited, and many films have local characteristics. For example, Taiwanese films are primarily about romance, Hong Kong films focus on gunfights and action, while mainland Chinese films are mostly historical or domestic dramas. Among China's numerous films, especially patriotic ones, the theme of individual heroism is particularly prominent, which is truly cause for concern. This book aims to break free from the conventional frameworks of studying film and television art from the perspectives of film and television art studies, film and television cultural studies, or film and television aesthetics, and also overcomes the shortcomings of the past's general studies of "film and television communication." It independently studies "film and television art communication" from "film and television communication," examining the technological environment, cultural environment, industrial environment, and audience environment of film and television art communication from a communication studies perspective. It reveals the interactive mechanisms between film and television art communication and its environment, as well as between its essence and its environment, sorts out its characteristics and patterns, clarifies thinking, deepens understanding, and explores the survival and development of film and television art in the modern context of film and television communication. Thus, it provides new insights for film and television art production, communication practice, and film and television art literacy education practice. The book consists of five chapters and an epilogue.