{"title":"声音设计","authors":"Timmy Chih-ting Chen","doi":"10.1080/17508061.2016.1142729","DOIUrl":null,"url":null,"abstract":"cinema and use it as a resource of soft power cannot fully utilize it precisely because of this ability. Free speech restrictions and censorship not only reduce the creative output of Chinese filmmakers but also raise credibility issues for foreigners disinclined to confuse cinematic truth with political reality. Audiences may willfully suspend their disbelief for a few hours and enjoy the Chinese film, but as long as there is a contradiction between the two spheres, film’s soft power capacity is likely to remain dormant.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"10 1","pages":"34 - 37"},"PeriodicalIF":0.4000,"publicationDate":"2016-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2016.1142729","citationCount":"0","resultStr":"{\"title\":\"Sound design\",\"authors\":\"Timmy Chih-ting Chen\",\"doi\":\"10.1080/17508061.2016.1142729\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"cinema and use it as a resource of soft power cannot fully utilize it precisely because of this ability. Free speech restrictions and censorship not only reduce the creative output of Chinese filmmakers but also raise credibility issues for foreigners disinclined to confuse cinematic truth with political reality. Audiences may willfully suspend their disbelief for a few hours and enjoy the Chinese film, but as long as there is a contradiction between the two spheres, film’s soft power capacity is likely to remain dormant.\",\"PeriodicalId\":43535,\"journal\":{\"name\":\"Journal of Chinese Cinemas\",\"volume\":\"10 1\",\"pages\":\"34 - 37\"},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2016-01-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1080/17508061.2016.1142729\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Chinese Cinemas\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/17508061.2016.1142729\",\"RegionNum\":3,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Chinese Cinemas","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17508061.2016.1142729","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
cinema and use it as a resource of soft power cannot fully utilize it precisely because of this ability. Free speech restrictions and censorship not only reduce the creative output of Chinese filmmakers but also raise credibility issues for foreigners disinclined to confuse cinematic truth with political reality. Audiences may willfully suspend their disbelief for a few hours and enjoy the Chinese film, but as long as there is a contradiction between the two spheres, film’s soft power capacity is likely to remain dormant.
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