(Person) Percentage - Sabanci University Research Database

The Asian Media & Mass Communication Conference 2010 Osaka, Japan
framework and norms should be based on internationally-accepted academic practice.
The currently accepted practice is developed under the western academic system and
it is an indisputable fact. The so-called 'Chinese National Film Theory' is definitely
not by the 'film theory' which is composed by traditional Chinese terminology,
methods and concepts. It can not form system or develops into something entirely
different from western theory; otherwise it is not necessary to call it 'Film Theory'.
Chinese film theory should be the theoretical studies fulfilled by the Chinese people
under the film norms. The citation of western film research framework does not mean
the direct diversion of its conclusions or methods, but when we clarify the theoretical
background, sort out all attempts and main ways to solve problems, understand the
current general assumptions recognized by scholars and regard it as their own
opportunities to conduct research.
From a truly global sense, the pursuit of 'pure national' only equals to affirm the value
of certain ethnic Chinese film theory for the local films, but denies their values for
films in the world. In fact, Chinese national film theory may learn from the Western
film theory and methods. Experience and thinking of Chinese filmmakers which have
been accumulated in a hundred years may also be helpful to the films in the world.
In the context of globalization, in dialogue and competitions among various cultures
and ideas, the value of theory and ideology are not only determined by whether it is
unique and national, but to a greater extent depending on whether it can reveal the
truth more widely and more effectively. Obviously, there are unique insights in
Chinese film theory which can provide new and useful answers to problems in the
film industry around the world. (Such as forms-manifestations, director-audience,
authenticity, etc). It specializes in art films fields which are rarely involved in
contemporary western film theory. Only when Chinese Film Theory highlights this
value it can consolidate its presence in the globalization torrent, enhance its influence
and continue its developments.
In the frame exploring of traditional Chinese culture and Chinese film, any attempts to
establish once and for all big theory relying on Chinese or Western theory and
standpoint which gives strict binary opposition for Chinese and Western theory have
to be abandoned. The narrow view that Chinese film theory can only be used for
Chinese film must also be changed. And since eastern aesthetics and philosophy has
high value for the world films, we should do 'self- mondialisation', that is, it should
try to resolve the world problems unresolved by western theories with Chinese
theories, to replace 'self-nationalization' to confront with globalization.
References:
Browne, Nick, Paul G. Pickowicz, Vivian Sobchack, and Esther Yau, eds. New Chinese Cinemas:
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