Official Chinese Film Awards and Film Festivals: History, Configuration and Transnational Legitimation
Official Chinese Film Awards and Film Festivals: History, Configuration and Transnational Legitimation
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中国官方电影奖和电影节：历史、结构和跨国合法化
DOI：
10.1080/17508061.2019.1678498
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发表时间：
2019
影响因子：
0.3
通讯作者：
Seio
中科院分区：
文献类型：
--
作者：
Nakajima;Seio
电影奖项和电影节是构建电影市场的重要机制之一，有颁奖活动以及与行业相关的活动。本文考察了政府批准的“官方”中国电影奖，如华表奖，百花奖和金鸡奖，以及电影节，包括长春电影节，上海国际电影节和北京国际电影节。我解决了三个研究问题：（1）奖项和节日是如何以及何时产生的？(2)不同类型的奖项和节日有什么配置？(3)奖项和节日合法化的不同标准是什么？与中国官方电影奖项和电影节作为国内政治正确性的封闭场所的广泛形象相反，我展示了它们内部逻辑的活力和多样性。此外，我还将这些奖项和电影节与中国电影的跨国化联系起来。在分析上，我主张运用社会学中的“场域理论”来理解中国官方电影奖项和电影节的结构和动态。
Film awards and film festivals are one of important mechanisms that structure film markets, with awards activities as well as industry-related events. This paper examines government-approved, ‘official’ Chinese film awards such as the Huabiao Awards, the Hundred Flowers Awards and the Golden Rooster Awards, as well as film festivals including Changchun Film Festival, Shanghai International Film Festival and Beijing International Film Festival. I tackle three research questions: (1) How and when did the awards and the festivals come into existence? (2) What is the configuration of different types of awards and festivals? (3) What are different criteria of legitimation of the awards and the festivals? Contrary to the widely shared image of official Chinese film awards and festivals as closed sites of domestic political correctness, I show the dynamism and multiplicity of logics within them. In addition, I situate the awards and festivals in the ongoing context of transnationalisation of Chinese cinema. Analytically, I argue for the utility of ‘field theory’ in sociology to understand the structure and dynamics of official Chinese film awards and film festivals.