(Person) Percentage - Sabanci University Research Database

The Asian Media & Mass Communication Conference 2010 Osaka, Japan
from overseas professor Zhang Yingjin to the mainland professor Dai Jinhua,
cross-cultural research has been recognized and applied by both Western and Chinese
film researchers. Whenever there are discussions on Chinese new films, the topics of
'flattering on western' and 'sales on folklore' have been continually repeated. In some
critics' points of view, Chinese directors have become conspirators who collaborate
with the transnational capitalists; The reputation and success of Chinese films in
international field have become the proofs of post-colonial 'un-exchanged culture.'
(Dai JH).
In nearly one century, developments and application on one country's specific natural
and cultural resources have been an integral part of film art and business. Of course
Chinese director display a number of scenes from old China, including construction,
fictional characters and customs. And as Nick Browne has pointed out, these just like
Fellini's film processing on Italy, Fassbinder's for Germany, Bergman's for Sweden.
They adopt natural and cultural resources as film techniques for expression. (2009,
p25)
People do national research of Chinese film reject the view from Cross-cultural
analytic model. They point out that before Chinese films achieved international
reputation and entering international market; several generations of Chinese film
directors had attempted to apply traditional Chinese art techniques in their films.
Since cross-cultural analytic makes too much emphasis on those who gaze or watch,
but neglecting national significance which is carried by cultural heritage.
Chinese culture does not have foretime which has been colonized nor does it have
colonial present. Cross-cultural analytic model locates China in the post-colonial
location, and changes the China-Western relations into a colonial power relationship.
It considers Chinese films in a vulnerable state, which going into the world's cultural
with a self-deprecating state. As Nick Browne has pointed out, it is an unreasonable
paradigm which makes simplification, orientation and colonization of Chinese film
discussion.(2009, p31) The greatest hazard of this model is from a non-reciprocal
'post-colonial exchange model' to view the content of Chinese film and its national
value. It makes 'What is Chinese film's nationality' once again become a mystery. If
Chinese landscape scenery, folk culture, historical myth become elements and
symbols which are set for others, then what is the true national characteristic of
Chinese film?
In order to survive under the pressure of globalization and market-orientation, the
national issue is the most urgent task for Chinese film to fulfill. (Zhou B, 2005, p201)
This sense of time mission hasten the development of the national research of local
films in Mainland China. Chinese traditional aesthetics and philosophy act as a
cultural core, which giving birth to the unique Chinese aesthetic style and having a
profound impact on Chinese films. To make a study on how Chinese traditional
culture influences Chinese film, as a replacement for cross-cultural analytic model, is
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