Chinese-language film or Chinese cinema? Review of an ongoing debate in the Chinese mainland

Sun, Shiyu

doi:10.1080/17508061.2016.1139803

Cited by 2 publications

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“…It includes all films from these territories, but also those from the Chinese diaspora; as well as transnational productions which result from collaborations with other film industries that are a result of the effects of globalization across the world. In this sense, we can be said to have moved away from the old but interesting debate between the terms Chineselanguage cinemas and Chinese cinema, reviewed by many authors such as Lu and Yeh (2005: 1-12) and more recently by Sun (2016). We also steer clear of the complex discussion about Chineseness, Chinese identity, and nation in relation to cinema, as Beus (2008) already does, since that goes beyond the objectives of this article.…”

Section: Introductionmentioning

confidence: 76%

Chinese cinema in Spain

Casas-Tost

Rovira-Esteva

2019

Babel

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Audiovisual translation has become one of the main means of communication between cultures. Although the number of Chinese films that reach Spanish audiences is rather limited, the cinema is still a very powerful tool in bridging the gap between these two cultures. This paper aims to give an overview of the situation of Chinese cinema in Spain through audiovisual translation. In order to do so, a database of 500 Chinese films translated into Spanish has been created. For each film, different types of information organized into three blocks have been collected: firstly, data regarding the source film in Chinese; secondly, data on the translated film; and finally, information about paratexts related to the film in Chinese, Spanish and English. Through a quantitative and qualitative analysis of our data the main trends in Chinese-Spanish audiovisual translation from the mid-1970s to today are shown. Our results identify the most popular Chinese directors and the main genres and translation modalities. We point out the role of the translator and the importance of mediating languages; and, finally, we highlight the significance of distribution channels, particularly film festivals. This article aims at filling the gap with regard to research in audiovisual translation as an intercultural exchange between China and Spain.

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Section: Introductionmentioning

confidence: 76%

Chinese cinema in Spain

Casas-Tost

Rovira-Esteva

2019

Babel

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A Chinese tale of three regions: a century of China in thousands of films

Chen

Wen

Guo

et al. 2022

Humanit Soc Sci Commun

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Over the past 70 years, because of their different historical and social contexts, the film industries of China’s three regions, namely mainland China, Taiwan, and the Hong Kong Special Administrative Region (SAR), have exhibited distinct characteristics that grow out of a single cultural root. Based on data from the Internet Movie Database (IMDb), this study investigates how the image of China has spread overseas through cultural products by applying big data analysis and machine learning methods to compare the content, topics, and attitudes toward the image of China disseminated by films originating in these three regions. The results show that the three areas have sought to express their subjectivity during periods of flux and striven to connect with the world in films. The macroscopic analysis of large-scale content allows the exploration of hidden cultural phenomena and compensates for the lack of objectivity of traditional research methods, while understanding embedded historical and cultural contexts of the three regions helps to clarify the regions’ ethnic, cultural, and emotional connections. Therefore, this study has contributed to cultural sociology both in topic and methodology.

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Chinese-language film or Chinese cinema? Review of an ongoing debate in the Chinese mainland

Cited by 2 publications

References 0 publications

Chinese cinema in Spain

Chinese cinema in Spain

A Chinese tale of three regions: a century of China in thousands of films

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