王一川：Modernization of Chinese Film

To Cite This Article

Wang, Yichuan. "Modernization of Chinese Film: Nationality, Periodicity, and Current Issues" Journal of Chinese Film Studies, vol. 3, no. 2, 2023, pp. 313-327. https://doi.org/10.1515/jcfs-2023-0033

 01

About the Author

王一川

Yichuan Wang

Yichuan Wang, Director of the Research Center for Literary Studies and Professor at the College of Literature, Beijing Normal University. He was selected as a Changjiang Scholar Distinguished Professor by the Ministry of Education in 2005. He currently serves as the Vice Chairman of the China Literary Critics Association, Vice President of the Chinese Society of Aesthetics, and Vice President of the Chinese Society of Literary Theory. His primary areas of expertise are literary theory, art theory, aesthetics, and film criticism.

    王一川，北京师范大学文艺学研究中心主任、文学院教授。入选教育部2005年度长江学者特聘教授。现为中国文艺评论家协会副主席、中华美学学会副会长、中国文艺理论学会副会长。主要领域为文艺理论、艺术理论、美学、影视批评。

 02

Abstract and Keywords

Abstract: The nationality of modernization of Chinese film focuses on the concept of yingxi (影戏, the name for film in Chinese early years), family ethic, classical intellectual traditions, legendary stories, and “lingering favor” (yuwei 余味). The periodicity of modernization of Chinese film can be divided into three periods: the modernization of Chinese film phase I, the modernization of Chinese film phase II, and the modernization of Chinese film phase III, respectively representing how the Chinese nation has stood up, grown prosperous, and become strong. The current issues for modernization of Chinese film lies in expressing the five dimensions of the Chinese path to modernization, and the ongoing advancement of the modernization of Chinese film III. Chinese film studies should also seize this new opportunity to reexamine itself.

Keywords: Chinese path to modernization; current issues of modernization of Chinese film; modernization of Chinese film; nationality; periodicity

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摘要：中国电影现代性的民族性特质体现为“影戏”说、注重家族伦理传统和古典心性智慧传统、传奇故事，以及注重“余味”。中国电影现代性的时段性表现为三时段：中国电影现代Ⅰ、现代Ⅱ和现代Ⅲ，它们分别展现中华民族“站起来”“富起来”和“强起来”的集体姿势。中国电影现代性的当前课题表现为中国式现代化的五项内涵的影像表达与中国电影现代Ⅲ的持续推进之间的融合。中国电影学也应当重新获得审视自身的新机遇。

关键词：中国式现代化进程、中国电影现代性、民族性、时段性、当前课题

 03

A Glimpse of the Article

Chinese cinema certainly has its own artistic history, but its development is also closely intertwined with the entire process of the modernization of China, thus becoming a part of the history of the Chinese path to modernization. Looking back at the process of the modernization of Chinese cinema from the perspective of Chinese path to modernization allows for a clearer understanding of the characteristics of the modernization of Chinese cinema. The Chinese path to modernization can be seen as a comprehensive process implemented in Chinese society. Meanwhile, modernization of Chinese cinema is both a part of this overall process and a visual expression of these wider transformations. Fundamentally, the modernization of Chinese cinema is characterized by the broader process of the Chinese path to modernization in motion picture systems. Of importance to the new Chinese cinema are ideas of nationality, periodicity, and current issues of modernization.

中国电影固然有自己的作为独立艺术门类的艺术史，但也同时与整个中国式现代化历史进程相伴随，因而也是中国式现代化历史的一部分。从中国式现代化回看中国电影现代性进程，可以更清晰地认识和把握中国电影现代性的特质和发展规律。中国式现代化，可以视为中国社会实施现代化变革的一种总体进程，而中国电影现代性既是这种社会现代化变革总体进程的一部分，同时又是对于它的一种影像表达方式。以运动影像系统形式去再现中国式现代化进程，构成中国电影现代性的基本品质，由此，中国电影现代性的民族性、时段性等特质及其当前课题，也都可以得到阐明。

1. 中国电影现代性的民族性特质

The Nationality of the Modernization of Chinese Film

The nationality of the modernization of Chinese cinema is primarily manifested in its attempt to position film, an emerging art form, through China’s inherent traditional art forms, such as opera and drama, giving rise to the concept of yingxi, which is the name for film in Chinese early years. Furthermore, the national characteristics of the modernization of Chinese film are also evident in the following facts: Chinese cinema not only seeks support from the local tradition of opera in terms of artistic genres, but also emphasizes the inheritance of family ethics and the wisdom of a Chinese-style mentality in its subject matter. This means that Chinese cinema has been committed to the modern communication of Chinese family ethics and classical intellectual traditions in the way of life from its inception to the present. It should also be noted that the nationality of the modernization of Chinese film is manifested in the conscious inheritance of the peculiar tradition since the Tang and Song dynasties, which means Chinese films are often devoted to telling legendary stories of the modern Chinese revolution.  It can also be said that the nationality of Chinse film modernization is manifested in the conscious inheritance of the tradition of“lingering flavor (yuwei)” or “residual meaning (yuyi)” from the classical Chinese art tradition. Chinese filmmakers consciously inherit this unique and long-standing national artistic tradition in the cinema.

中国电影现代性的民族性特质追寻，首先表现为以中国固有的戏曲或戏剧传统去尝试定位电影这一新兴艺术门类，提出“影戏”说。进一步看，中国电影现代性的民族性特质还表现在如下事实上：中国电影不仅在艺术门类传统上寻求本土戏曲艺术的支撑，而且还在表达对象上注重家族伦理传统和中国式心性智慧传统的传承。这就是说，中国电影在题材上从一开始到现在一直在致力于本民族生活方式中家族伦理传统和古典心性智慧传统的现代传达。还应该看到，中国电影现代性的民族性特质还表现为自觉传承唐宋传奇以来的奇异传统，致力于讲述现代中国革命的传奇英雄故事。还可以说，中国电影现代性的民族性特质也表现为对于中国古典艺术“余味”或“余意”传统的自觉传承。中国电影人自觉地在电影这一新兴艺术门类中传承这种独特而久远的民族艺术传统。

2. 中国电影现代性的时段性

The Periodicity of the Modernization of Chinese Film

Just as the Chinese path to modernization has been narratively framed as the “great leap of the Chinese nation, from standing up, to becoming prosperous, to becoming strong”, the modernization of Chinese film can also be roughly divided into the following three time periods: the modernization of Chinese film phase I, the modernization of Chinese film phase II, and the modernization of Chinese film phase III.

正像中国式现代化进程体现为“中华民族迎来了从站起来、富起来到强起来的伟大飞跃”这个三时段叙事构架一样，中国电影现代性也可以据此而大致分为如下三个中时段：中国电影现代Ⅰ、中国电影现代Ⅱ、中国电影现代Ⅲ。

(1) The Modernization of Chinese Film Phase Ⅰ

       中国电影现代Ⅰ

The modernization of Chinese film phase I refers to the period from the birth of Chinese cinema until 1978. Chinese cinema primarily focuses on the systematic representation of contemporary Chinese life through the medium of film, depicting the collective journey of the Chinese nation from “unprecedented calamities” to “rising up” and engaging in a “heroic struggle”, ultimately achieving a position of strength. Within this period, three shorter periods can be identified. The first shorter period of the modernization of Chinese film phase I spans from the early 20th century to the 1920s. This early period gave rise to approximately three film paradigms: first, the paradigm of portraying family ethics in a realistic setting; second, the paradigm of benevolence and righteousness; and third, the paradigm of costume dramas. The second shorter period of the modernization of Chinese film phase I runs through the 1930s to 1940s. It witnessed the emergence of three film paradigms: first, the paradigm of social critique and revolution. This period also introduced the second paradigm of nostalgia; and third, extending the paradigm of costume dramas. The third shorter period of the modernization of Chinese film phase I spans the 1950s to the 1960s. It is characterized by two notable film paradigms: first, the paradigm of modern revolutionary legends, which depicted the birth and accomplishments of the newly established People’s Republic of China. The second paradigm is that of modern social development. During the modernization of Chinese film phase I, Chinese cinema focused on showcasing the indomitable spirit of the Chinese nation in the face of modern crises, emphasizing autonomy and self-reliance.

中国电影现代Ⅰ是指中国电影自诞生到1978年期间的状况，主要体现为以影像形式系统再现中国现代生活世界情境，刻画了中华民族从“前所未有的劫难”中“奋起反抗”、“奔走呐喊”、进行“可歌可泣的斗争”，直到最终“站起来”的集体实践历程及其英勇姿势。其中还可以划分出三个短时段。中国电影自20世纪初诞生至20年代为中国电影现代Ⅰ的第一短时段，产生了大约三种影像范式：一是现实家族伦理范式，二是仁义范式，三是古装片范式。30年代至40年代为中国电影现代Ⅰ的第二段时段，出现了三种影像范式：一是现实社会批判及革命范式；二是怀旧范式；三是古装片范式。50年代至60年代为中国电影现代Ⅰ的第三短时段，有两种影像范式引人瞩目：一是现代革命传奇范式，属于新生的中华人民共和国的诞生历程及其结果的影像正义宣示；二是现代社会建设范式。这个时段中国电影着力展示中华民族在现代危机中自主和自立的挺拔英姿。

(2) The Modernization of Chinese Film Phase Ⅱ

       中国电影现代Ⅱ

The modernization of Chinese film phase II refers to the state of Chinese cinema between 1979 and 2012. The cinema of this period primarily depicted the collective posture of the Chinese nation in vigorously promoting reform and opening up, economic development, and material civilization. The modernization of Chinese film II can be divided into two shorter time periods. The first shorter period spans the 1979 to the 1990s. It witnessed the emergence of three film paradigms: first, the poetic realism paradigm, which aimed to reflect on past history in a poetic manner. Second, this smaller period exhibited the paradigm of realistic reform, which continued the tradition of representing realistic family ethics and social critique. The period also continued revolutionary paradigms. Films in this category addressed contemporary social issues. Third, films from 1979–1990s engaged in a paradigm of cultural reflection, which sought to reflect on broader modern history and cultural phenomena with sense of rupture. The second shorter period of the modernization of Chinese film phase II spans from 2002 to 2012. It is characterized by three dominant film paradigms: first, the Chinese blockbuster paradigm, which aimed to emulate and respond to the success of Titanic (1997). This paradigm also continued and expanded the modern revolutionary legends tradition in both ancient and contemporary settings. Second, films from this period also engaged in a paradigm of realistic reform, which continued the trend from the previous period. Third, this smaller period also introduced a light comedy paradigm, which attempted to bid farewell to the past and deal with contemporary issues in a lighthearted and comedic manner. During the modernization of Chinese film phase II, Chinese cinema focused on showcasing the self-reliance and self-sufficiency of the Chinese nation in the context of reform and opening up, economic development, and the construction of material civilization.

中国电影现代Ⅱ是指1979至2012年间的中国电影状况，主要描绘中华民族大力推进改革开放、经济建设和物质文明建设的集体姿势。它可以划分为两个短时段。1979年至20世纪90年代为中国电影现代Ⅱ的第一短时段，出现了三种影像范式：一是诗意现实范式，致力于诗意地反思过去的历史；二是现实改革范式，延续现实家族伦理范式、社会批判及革命范式传统，更多地直面当下社会现实问题的解决方式；三是文化反思范式，以断裂姿态试图反思更加深广的现代历史与文化症候。2002至2012年为中国电影现代Ⅱ的第二短时段，有三种影像范式成为主导：一是中式大片范式，试图仿效和回应《泰坦尼克号》的大片效应，但也同时构成对于现代革命传奇范式在古代和当代的延续和拓展；二是现实改革范式，继续延续上一时段现实改革范式；三是轻喜剧范式，尝试以轻松灵活的喜剧方式去告别过去和处理现实问题。这个时段中国电影集中展示中华民族在改革开放、经济建设和物质文明建设中的自力更生和自富自足姿态。

(3) The Modernization of Chinese Film Phase Ⅲ

       中国电影现代Ⅲ

The modernization of Chinese film phase III refers to the state of Chinese cinema from 2012 to the present. It primarily reflects the collective posture of the Chinese nation in seeking self-confidence and self-improvement. It can be observed through the following three film paradigms. First, the contemporary Chinese legend paradigm can be seen as a contemporary continuation of the previous modern revolutionary legend paradigm, but with a greater focus on depicting legendary hero stories set in contemporary China. Second, the fusion of drama and comedy was another paradigm, combining elements of drama and comedy or adopting a lighthearted comedic approach to depict individual destinies and stories that intersect with the nation. Third, the paradigm of realistic reform continues the tradition of the realistic family ethics paradigm since An Orphan Rescues His Grandpa.

中国电影现代Ⅲ是指2012年至今的中国电影状况，主要再现中华民族寻求自信自强的集体姿势，可以见到如下三种影像范式：一是当代中国传奇范式，可以视为前述现代革命传奇范式的当代延续形态，只是更集中描绘当代中国的传奇英雄故事；二是正喜剧交融范式，以正剧与喜剧之间相互转化或交融的方式以及轻喜剧方式，去讲述当代中国的个体命运、家国同构故事；三是现实改革范式，延续了《孤儿救祖记》以来的现实家族伦理范式传统。

The modernization of Chinese film has evolved through these three periods, resulting in a diverse range of film paradigms and corresponding artistic styles. Two prominent categories of Chinese cinema are the realistic family ethics paradigm and the legendary hero paradigm. They represent two distinct national characteristics of Chinese Film Modernity: extending the existing tradition of classical family ethics and the tradition of telling the story of extraordinary heroes since the Tang and Song dynasties. This demonstrates the enduring vitality of the ancient narrative literature’s family ethics tradition and the wisdom of human nature. At the same time, the tradition of shaping extraordinary heroes has shown broad public prospects.

中国电影现代性以如上所述的三个时段状况演变至今，出现了多种多样的影像范式及相应的艺术风格，其中比较突出的是两类：一类是现实家族伦理范式，另一类是传奇英雄范式。它们分别代表中国电影现代性的两种民族性特质，一是古典家族伦理传统和心性智慧传统，二是唐宋传奇以来的奇异英雄塑造传统。这表明，中国古代叙事文学中的家族伦理传统以及心性智慧传统获得了现代传承，展现出顽强的生命力；同时，古典奇异英雄传统也展现了广阔的公众前景。

3. 中国电影现代性的当前课题

The Current Issues of the Modernization of Chinese Film

At present, there are two main issues that need to be addressed in order to move forward with the modernization of Chinese film within the framework of the Chinese path to modernization. First, the basic connotations of the Chinese path to modernization need to be interpreted through new cinematic images and scholarly works on film history. Second, the period of the modernization of Chinese film III has just begun and is still ongoing. These two current issues intersect and form a problematic situation: the ongoing phase III of the modernization of Chinese cinema needs to continue reflecting the collective posture of the Chinese nation’s “strength” while simultaneously portraying the fundamental connotations of Chinese path to modernization that have been unfolding for over a century. This implies that Chinese cinema needs to move forward on the basis of the new explorations since 2012, consciously integrating the soaring posture of the Chinese nation’s “rise to strength” with the fundamental connotations of Chinese path to modernization, and depicting them in a focused and indepth manner.

当前，在中国式现代化视域下从事中国电影现代性研究，需要面对两方面的课题：一是中国式现代化的基本内涵有待于新的电影影像去阐释以及新的电影史论著述去阐释，二是中国电影现代Ⅲ刚开始十年时间而今尚在进行中。正是这两方面的当前课题在当前交汇成为一个问题结：当前正在开展的中国电影现代Ⅲ需要一面继续深入反映中华民族“强起来”的集体姿势，一面正面刻画百余年来中国式现代化所已经展开和正在继续展开的基本内涵。这意味着，中国电影需要在2012年以来新开拓基础上继续前行，更加自觉地将中华民族“强起来”的飞跃姿势与中国式现代化的基本内涵融合在一起予以集中和深入刻画。

(1) The Modernization of a Huge Population

       人口规模巨大的现代化

The modernization of a huge population demands that cinema comprehensively reflects the arduous and resilient nature of modernization in a country with such a massive population. The film Dearest (Qinaide, 2014) depicts the pain and relentless efforts of a couple, Tian Wenjun and Lu Xiaojun, who have lost their only child in a big city. It also portrays the intense longing of Li Hongqin, a rural woman, for a son. These two aspects objectively reflect the extraordinary emphasis on population and the role of procreation in contemporary Chinese families, as well as the distorted conditions of human nature that arise within them. Currently and in the future, Chinese cinema will strive to depict the specific life situations of this country with its enormous population as it pursues higher levels and higher quality of population modernization. This will not only involve overall improvements in the material aspects of people’s lives, such as clothing, food, housing, transportation, and healthcare, but also require comprehensive improvements in national education, individual character, law, rationality, technology, and imagination.

人口规模巨大的现代化，要求电影全面反映这个拥有巨大人口规模的国度的现代化的艰难曲折性和坚强不屈性。《亲爱的》（2014）叙述大城市中失独夫妻田文军和鲁晓娟的痛苦和坚持不懈的寻子努力，同时也叙述偏僻山村中村妇李红琴对于儿子的极度渴望，这两方面的诉求客观上同时反映了当代中国家庭对于人口及其传宗接代作用的非同寻常的重视传统，以及其中出现的人性扭曲状况。当前和未来中国电影还将尽力再现这个人口规模巨大的国度在追求更高层次和更高质量的人口现代化时的具体生活世界情境，这将不仅涉及巨大规模人口在衣食住行、生老病死等物质存在环境方面的整体改善，而且更需要其在国民教育、人格、法律、理性、科技、想象力等方面的全面改善。

(2) The Modernization of Achieving Common Prosperity for All 

       全体人民共同富裕的现代化

The modernization of achieving common prosperity for all calls for cinema to portray the love and pursuit for common prosperity and social justice of the 56 ethnic groups and over 1.4 billion people living in different geographical locations across China, from east to west, north to south, and in the middle. The film My People, My Homeland presents five short stories that depict the heartwarming scenes of people from different regions across the country striving for a better life together.  The common prosperity for all is not an empty slogan but a collective practice of unity, mutual assistance, solidarity, and cooperation.

全体人民共同富裕的现代化，呼唤电影再现生活在中国大地东西南北中等不同地理方位的56个民族、14亿多人民对于共同富裕、公平正义的热爱和追求轨迹。《我和我的家乡》（2020）以五个短故事再现了全国不同地域人民共同奔小康的动人景观。全体人民的共同富裕不是一句空话而是实实在在的团结互助、相濡以沫和同舟共济的集体实践。

(3) The Modernization That Entails the Harmonious Coordination of Material Civilization and Spiritual Civilization

       物质文明与精神文明相协调的现代化

The modernization that entails the harmonious coordination of material civilization and spiritual civilization calls for films to pay great attention to the balance and harmony between the material and spiritual lives of the Chinese people.  In the film A Hustle Bustle New Year(Meiyou guobuqude nian, 2021), the four siblings of the Wang family neglect their elderly, frail, and seriously ill mother, Song Baozhen, in order to pursue money and material prosperity.  As the material civilization of the Chinese population becomes more developed, the continuous improvement of the nation’s spiritual civilization becomes increasingly crucial. This is one of the pressing issues that Chinese cinema needs to earnestly address.

物质文明与精神文明相协调的现代化，期待电影高度重视中国人民的物质生活与精神生活之间的协调和平衡，而不能容忍那种只要物质富裕和幸福而不要精神健康和高尚的极端物质主义偏颇。《没有过不去的年》（2021）中王家四兄妹为了挣钱以及享受物质富裕而忽略了关心年老、体衰和病重的母亲宋宝珍。随着中国人口物质文明水平越来越发达，与之相应的国民精神文明水平的持续提升就变得越来越关键了，而这恰是中国电影需要认真处理的紧迫课题之一。

(4) The Modernization That Entails Harmonious Coexistence Between Gumans and Nature 

       与自然和谐共生的现代化

The modernization that entails harmonious coexistence between humans and nature presents a new calling for Chinese cinema to promote the wisdom of the Chinese tradition of “unity of heaven and man” and “oneness of all things”, and to integrate it with modern ecological conservation and the construction of a green civilization. Films such as Wolf Totem (Lang tuteng, 2015), Mermaid (Meirenyu, 2016),The Wandering Earth (Liulang diqiu, 2019), and The Wandering Earth II (Liulang diqiu 2, 2023)  highlight the contemporary value of harmonious coexistence between humans and nature. This is not only an ongoing issue throughout the process of the Chinese path to modernization, but also a global issue that becomes increasingly urgent. It requires filmmakers in China to respond to this challenge with great courage and exceptional creativity.

与自然和谐共生的现代化，对中国电影提出了发扬中国式“天人合一”和“万物一体”智慧传统并与现代生态环保理念及绿色文明建设相汇通的新召唤。《狼图腾》（2015）、《美人鱼》（2016）、《流浪地球》（2019）和《流浪地球2》（2023）等影片凸显了人与自然和谐共生的当代价值。这既是一个在中国式现代化进程以来一直在持续的课题，更是一个在新的现代化征程上变得愈益严峻的全球性课题，需要中国电影人以巨大的勇气和卓越的才智予以创造性应对。

(5) The modernization That Follows the Path of Peaceful Development

       走和平发展道路的现代化

The modernization that follows the path of peaceful development presents creative opportunities and a proactive role for Chinese cinema to shed light on China’s role and contributions in a global context and in the face of global challenges. Films such as Operation Mekong, Operation Red Sea, and Wolf Warrior 2 showcase how Chinese people, guided by the concept of a community with a shared future for humanity, approach various issues with the principles of peaceful development and a peaceful rise. These films depict the Chinese nation’s love for peace, unity, and friendship, demonstrating an image to people around the world.

走和平发展道路的现代化，给中国电影提出了如何在全球性生存境遇中透视中国角色和中国贡献的创造性机遇和积极担当。《湄公河行动》（2016）、《红海行动》（2018）、《战狼2》（2019）等影片，相继反映中国人在当代国际交往事务中秉承人类命运共同体理念，以和平发展和和平崛起的理念处理各种问题，在其中向全球各国人民展示了中华民族爱好和平和团结友爱的动人形象。

The aforementioned films only represent a partial exploration of Chinese cinema in the realm of China’s modernization over the past decade. However, they have already showcased the broad prospects of Chinese cinema in expressing China’s modernization and offered an early glimpse of the modernization of Chinese film phase III. In the present and future, Chinese cinema should conscientiously and confidently recall, perceive, or imagine the evolving landscape and rhythm of China’s modernization, portraying the struggles and spirit of the Chinese nation in this new era of modernization. 

上面涉及的还只是过去十年间部分影片在中国式现代化领域所做的影像探索，但它们毕竟已经初步展现了中国电影在中国式现代化表达上的开阔前景以及中国电影现代Ⅲ的早期景观。当前和未来中国电影，应当更加自觉地和自信地回忆、感知或想象中国式现代化的演进景观及其节律，展现中华民族在新的现代化里程中的奋斗印记及其精神气象。

4. 结语

Conclusion

In recent years, China’s new mainstream films have created a new category of classical cinema, due to their attention on artistic expression and cultural values.

近年来，中国新主流电影因注重艺术性和价值观表现而产生了不少电影新经典。

Examining the issues of the modernization of Chinese film within the context of Chinese path to modernization can also be seen as a new opportunity for the development of Chinese film studies. In the face of the modernization of Chinese film and its ongoing modernization process, including film theory, film history, and film Modernization of Chinese Film 325 criticism, Chinese film studies should shoulder its own mission, which means to deeply analyze the modernization of Chinese film and its modernization III process from the perspectives of film theory, film history, and film criticism. Reviewing the development of Chinese film studies within the context of Chinese path to modernization means closely examining the process of Chinese film modernity, connecting it with the overall process of artistic modernization in China and the modernization processes of other art forms, as well as connectingit closely withfilmmodernization and artistic modernization in other countries. Through this re-examination, Chinese film studies can undoubtedly stimulate new possibilities for expansion.

从中国式现代化考察中国电影现代性问题，也可以视为中国电影学发展的一次新机遇。面对与中国式现代化相伴随的中国电影现代性及其正在进行的现代Ⅲ进程，包括电影理论、电影史和电影批评在内的中国电影学也应当肩负起自身的使命来，也就是加强对于中国电影现代性及其现代Ⅲ进程的来自电影理论、电影史和电影批评的把握。把中国电影学发展历程纳入中国式现代化道路去重新审视，意味着既与中国电影现代性进程本身紧密相连地通观，同时又与中国艺术现代性进程整体以及其他多种艺术门类的现代性进程紧密相连地通观，以及还需要与世界各国的电影现代性和艺术现代性紧密相连地通观。经过这样的重新审视，中国电影学想必可以激发出新的拓展可能性来。

想要了解更多关于中国电影现代性的民族性、时段性和当前课题，以及更多具体电影实例，欢迎点击文末的“阅读原文”！

Journal of Chinese Film Studies

《中国电影研究》

主编：王海洲 金海娜

Journal of Chinese Film Studies立足中国，面向国际，旨在搭建一流国际学术平台，发表国内外高水平的中国电影研究成果，加强不同文化背景的研究者之间的对话和沟通，促进国内外电影研究界开展交流与合作，推动中国电影研究的全球发展。期刊由德古意特（De Gruyter）出版社出版，目前已进入Scopus索引。想与国内外知名学者一起探讨中国电影吗？赶快行动投稿吧！

期刊主页

https://www.degruyter.com/journal/key/jcfs/html

投稿网址

https://mc.manuscriptcentral.com/jcfs

编辑部

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编辑：王倩

点击“阅读原文”，直达

Modernization of Chinese Film: Nationality, Periodicity, and Current Issues