Official Chinese film awards and film festivals: History, configuration and transnational legitimation

IF 0.4 3区艺术学 0 FILM, RADIO, TELEVISION

Journal of Chinese Cinemas Pub Date : 2019-09-02 DOI:10.1080/17508061.2019.1678498

Seio Nakajima

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引用次数: 2

Abstract

Abstract Film awards and film festivals are one of important mechanisms that structure film markets, with awards activities as well as industry-related events. This paper examines government-approved, ‘official’ Chinese film awards such as the Huabiao Awards, the Hundred Flowers Awards and the Golden Rooster Awards, as well as film festivals including Changchun Film Festival, Shanghai International Film Festival and Beijing International Film Festival. I tackle three research questions: (1) How and when did the awards and the festivals come into existence? (2) What is the configuration of different types of awards and festivals? (3) What are different criteria of legitimation of the awards and the festivals? Contrary to the widely shared image of official Chinese film awards and festivals as closed sites of domestic political correctness, I show the dynamism and multiplicity of logics within them. In addition, I situate the awards and festivals in the ongoing context of transnationalisation of Chinese cinema. Analytically, I argue for the utility of ‘field theory’ in sociology to understand the structure and dynamics of official Chinese film awards and film festivals.

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中国官方电影奖项与电影节:历史、配置与跨国合法化

电影奖项和电影节是构建电影市场的重要机制之一，既有颁奖活动，也有行业相关活动。本文考察了政府批准的“官方”中国电影奖项，如华表奖、百花奖和金鸡奖，以及包括长春电影节、上海国际电影节和北京国际电影节在内的电影节。我解决了三个研究问题:(1)奖项和电影节是如何以及何时产生的?(2)不同类型的奖项和节日的配置是什么?(3)评奖与电影节的合法性标准有何不同?与人们普遍认为的中国官方电影奖项和电影节是国内政治正确的封闭场所的形象相反，我展示了其中的活力和逻辑的多样性。此外，我将这些奖项和电影节置于中国电影跨国化的背景下。在分析上，我主张运用社会学中的“场理论”来理解中国官方电影奖项和电影节的结构和动态。

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来源期刊

Journal of Chinese Cinemas FILM, RADIO, TELEVISION-

CiteScore

0.50

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0.00%

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