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Beijing Film Academy Yearbook 2015 , livre ebook

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123 pages

English

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A propos
Informations
Extrait

Description

The Beijing Film Academy (BFA) is one of the most revered film institutions in the world. Since 1984, the BFA’s Department of Film Studies has been publishing the Journal of the Beijing Film Academy, the only journal of film theory that integrates film education in higher learning with film theory studies. Now, coinciding with dramatically increased interest in Chinese cinema, comes the Beijing Film Academy Yearbook, showcasing the best academic debates, discussions and research from the academy in 2015 – all available for the first time in English. Aimed at narrowing the cultural gap for cross-cultural research, the book contributes not only to scholarly work on Chinese cinema, but also to film and media studies more generally.

Acknowledgement

Foreword

WU Guangping (Editor-in-Chief of the Journal of Beijing Film Academy)

Chapter 1: An Analysis of Educational Characteristics and Developments of Beijing Film Academy: A Reflection of Film Education on the 120th Anniversary of Film

HOU Guangming

Chapter 2: Annual Report on the Development of China’s Film Industry 2013

LIU Jing, WEI Jinru

Chapter 3: On Cinema Operation and Management in the Context of the Cyber-Era

ZHANG Huijun, LU Yang, ZHU Tao

Chapter 4: The Present State and the Problems of Chinese Cinema

LIU Fan

Chapter 5: How Will Art Film Make a Real Breakthrough: An Analysis of Several Trends in China’s Art Film Promotion

PENG Ke

Chapter 6: An Emic Study of the Impact of Jun’ichiroÝ Tanizaki

ZHANG Chong

Chapter 7: The Lens of an Intertextual Era: Reinterpretation of the Film A Twig of Plum Blossoms

QI Xian’gu

Chapter 8: Surpass Stereotypes: Study on Li Wei’s Seventeen-Year Villain Performance

DING Ning

Chapter 9: Cut-throat Rivalry, Who Will Be the Winner?

SHAO Bocong

Notes on Contributors

Editorial Board Information

Sujets

Arts visuels

Cinéma

Cinema

Cinema of Asia

General officer

History of film

Art

General

China

Informations

Publié par	Intellect Books
Date de parution	01 mai 2016
Nombre de lectures	0
EAN13	9781783206070
Langue	English

Informations légales : prix de location à la page 0,5120€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

First published in the UK in 2016 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2016 by
Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright © 2016 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Copy-editor: MPS Technologies
Language editor: Mike Grimshaw
Cover designer: Gabriel Solomons
Production manager: Jessica Lovett
Intellect China Library Series Editor: Hiu M. Chan
Typesetting: John Teehan
ISBN 978-1-78320-605-6
ePDF ISBN 978-1-78320-606-3
ePUB ISBN 978-1-78320-607-0
Printed and bound by Gomer Press Ltd, UK
Contents
Acknowledgement
Foreword
WU Guangping (Editor-in-Chief of the Journal of Beijing Film Academy )
Chapter 1: An Analysis of Educational Characteristics and Developments of Beijing Film Academy: A Reflection of Film Education on the 120 th Anniversary of Film
HOU Guangming
Chapter 2: Annual Report on the Development of China’s Film Industry 2013
LIU Jing, WEI Jinru
Chapter 3: On Cinema Operation and Management in the Context of the Cyber-Era
ZHANG Huijun, LU Yang, ZHU Tao
Chapter 4: The Present State and the Problems of Chinese Cinema
LIU Fan
Chapter 5: How Will Art Film Make a Real Breakthrough: An Analysis of Several Trends in China’s Art Film Promotion
PENG Ke
Chapter 6: An Emic Study of the Impact of Jun’ichirō Tanizaki
ZHANG Chong
Chapter 7: The Lens of an Intertextual Era: Reinterpretation of the Film A Twig of Plum Blossoms
QI Xian’gu
Chapter 8: Surpass Stereotypes: Study on Li Wei’s Seventeen-Year Villain Performance
DING Ning
Chapter 9: Cut-throat Rivalry, Who Will Be the Winner?
SHAO Bocong
Notes on Contributors
Editorial Board Information
Acknowledgements
The idea of publishing the translated materials of the Journal of Beijing Film Academy arose from a visit to China in 2011, during which Intellect director Mark Lewis met with Professor Wu Guanping, Editor-in-Chief of the journal. The meeting would not have been possible without Dr John Berra’s connections, a regular author of Intellect, and currently a lecturer in Film Studies at Renmin University of China. Furthermore, Professor Sun Hongyun was a great help in ensuring that the conversation was continued after the project’s initial idea was generated; without her determination and ambition, the project would have been just another one of those lost ideas that never materialized.
Foreword
Wu Guanping
Editor-in-Chief of Journal of Beijing Film Academy
Beijing Film Academy (BFA) welcomed its 65th birthday in 2015. Consisting of nineteen departments, BFA has gradually shaped its unique features in the fields of practical teaching and film-making, and has become the biggest higher education film institution in Asia. BFA graduates have produced many important works in Chinese film history. As the foundation of China’s film talent, BFA has also discovered and cultivated numerous Chinese heavyweight film auteurs and actors.
In terms of film studies, BFA has successfully carried out a great deal of prominent research in the areas of film ontology, Chinese film history, Chinese film aesthetics, and occidental modern film studies since the 1980s. In recent years, within the realms of the Chinese film industry, film education, motion picture techniques and film culture, faculties and students of BFA have also published a multitude of influential research papers.
The nine articles that are included in this issue are representative of scholarships selected from The Journal of Beijing Film Academy of 2014. Each paper contributes to different perspectives and angles within the study of Chinese cinema. The collection of papers discusses the educational philosophy and tradition of BFA, and also dissects and analyzes, in a structured manner, a number of crucial questions about contemporary Chinese cinema, including: the solution for art-house cinema; problems of mainstream commercial cinema; market structure and theatre management in the context of new media. In addition, there are also three papers that contribute particular findings on the topic of historical studies. These papers are, to a certain extent, embodiments of contemporary scholarly research horizons and approaches to studying Chinese cinema. This book aims to fill the gaps with empirical findings and domestic perspectives that are perhaps not often widely articulated within English academia.
Wu Guanping
Beijing, China
Chapter 1
An Analysis of Education Characteristics and Developments of Beijing Film Academy: A Reflection of Film Education on the 120 th Anniversary of Film
HOU Guangming 1
F ilm schools and institutions around the world have their own characteristics and advantages, while the necessity to innovate and develop further always remains the same. In this sense, experiences of other film schools are valuable in promoting the development of higher education film theory and practice. Since its establishment in 1950, Beijing Film Academy (BFA) has gradually formed a unique academic characteristic of film education by means of learning from other film schools. After more than 60 years of development, BFA demonstrates the highest of achievements for Chinese higher film education. This paper aims to share BFA’s experiences with its international counterparts in order to promote film education developments worldwide.
A Wide Range of Academic Settings
There are a total of sixteen departments (schools) in BFA: screenwriting, directing, cinematography, sound, fine arts, management, film studies, academic foundations, schools of performing arts, animation, photography, film and TV technology, continuing education, institutes of digital media and audio-visual media as well as the international school. The ten bachelor’s programs are screenwriting, directing, performing arts, photography, art design for film and television, sound recording, management for film business, animation, advertising and film studies. In terms of master’s and doctoral degree programs, there are art theory, drama and film studies and fine arts as the first-level disciplines, under which there are art theory, film studies, radio and television arts, film production, performing arts, management, animation and fine arts. Meanwhile, BFA also provides Master of Fine Arts (MFA) and Master of Public Administration (MPA) programs, recruiting graduate candidates in film, radio and television, fine arts, drama, music and art design areas.
Founded in 1950 with only three majors at the time, BFA had experienced the expanding of academic settings from very early screenwriting, directing and performing arts to cinematography, sound recording, fine arts, and later management, film studies, film and TV technology and animation. Covering the whole process of film-making, the knowledge and expertise of BFA’s academic subjects are becoming increasingly extensive and specialized.
The academic settings of BFA have the following three features. Firstly, the majors are designed according to the film production process, with subjects relating not only to film production but also to film history and theory, film technology and film management. In this way, BFA gradually formed five positively interactive discipline groups of creation, production, management, audio-visual technology and film studies. The second feature is the specialized disciplines; by 2014, there were a total of 28 specialized orientations under the ten bachelor’s programs. Thirdly, the school simultaneously combines theory with practice in film education, demonstrating a different approach to other film schools that prefer to focus on academic and practical areas separately.
Presently, BFA is implementing a reform of academic setting from ‘film-production-process-based’ to ‘film-industry-chain-based’, trying to push the boundaries among every single discipline and consequently form multidisciplinary setups. According to the Smiling Curve Theory, BFA will strengthen the ‘creation’ majors that are at the forefront of the industrial chain, and the ‘market’ majors that at the other end. The school will build a comprehensive system of drama, film and art disciplines to support its sustainable development. The year 2014 saw the foundation of the institutes of digital media, audio-visual media and social studies; now two first-level disciplines of music and dance and fine arts and design are also under construction.
A Rich and Solid Talent Cultivation System
BFA creates a multi-layered film talent training system, which takes both undergraduate and graduate education as the main body, covering degree education levels of bachelor, master, doctoral, post-doctoral, higher vocational education, continuing education, overseas student education and also film business training. Within BFA, there is the High Vocational College (training junior college students), the School of Continuing Education (training college students and non-degree students) and the International School (training international students). Vocational students’ education concentrates primarily on skills, while undergraduates focus on creation, graduates (post graduates) on both creation and research and doctors (post-doctors) on research only, while the focus for non-degree students is on ability to adapt to the film industry. It is in this way that BFA has formed skill-based, creation-based, production-based, research-based and also elites-based talent training programs.
Before 1956, BFA was only a technical school, after which it became an undergraduate school. Postgraduates were recruited from 1984, doctoral students from 2006, and post-doctoral researchers from 2014, with