The Study Films on Chinese Ethnic Minority in 1980’s

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The Study Films on Chinese Ethnic Minority in 1980’s
Abstract: Before the founding of New China on October 26, 1948, the Propaganda Department of Chinese Communist Party Central Committee announced that “ class society in film promotion, is a tool of class struggle, and not something else”. Film as a state ideology, education, and guide people to the spiritual life of the tool position, has been expressly established. (Li Daoxin) New China’s film as a new revolutionary ideology cultural products, from art form to the internal language of the external structure, with the old China before the founding of the film in stark contrast. Thus, some of the artists in-depth border areas, to shoot some movies that reflect local ethnic minorities’ life. Filmmakers shooting in a total of seventeen years, which reflect the ethnic minorities’ living eighteen feature films, they have gone through a form and subject matter from the initial exploration, maturing on the road to art. But, the Cultural Revolution brought all cultural industry into a standstill, including the Cultural Revolution; it was given a new lease of life. Introduction: Films on ethnic minority are undoubtedly special spectacle in New Chinese film history. Their expressive objects are hetero generous and pluralistic minorities; the films are an important link that exposes the inner pluralistic culture in nation-state, and also indispensable components for constructing political community and cultural community in socialist China. Its narrative mode gradually shifted concerning political ideology from about real life and narrative theme of diversity. 1. Background: The historical development of films on ethnic minority in 1980s, Minorities in China (Zhao Weifang) a century theme of the film plays an important role in film industry, some of which excellent work and some fine works were not only a wonderful flower in the Chinese film history, but these were also renowned in the world. (Zhouhuafang) In 1980s, the government set up the movie highest ethnic minority arts ‘ Horse Awards’ in the theme of the movie Minority awards and selected each group of outstanding minority theme movies. However, 1979 was a major transformation year in Chinese society, Chinese literary and art workers of the Fourth Congress was held in Beijing, “Congratulatory Speech”, the general principles of literary art from the original ‘services for the workers, as politics ‘To literature’ served the people and socialism. To broaden the scope of the subject matter, the liberation of the literary and artistic creation of the ideological shackles’ of political ideology began to march turned Chinese film; turning to explore the art, turning to the pursuit of world trends, turning to meet the entertainment needs of people. 2. The change of the narrative style

Film theorists began to discuss that the relationship among film theater, literature; aesthetics of film and nature of film; nationalization on the film; and innovation in the film. Thus, documentary aesthetic was made widely known, and imported the Western traditional film theory and contemporary film theory, as well as translation and introduction, as well as traditional Chinese film theory and aesthetics of the discussions,etc., which has been never formed a such academic atmosphere after the founding of New China. 3. The multi-ethnic narrative theme of films

3.1 Continuation of the revolutionary struggle narrative about the Cultural Revolution. After the Cultural Revolution, China entered into a new era. With the ‘order out of chaos’ and carry out the work of reform and opening, the film art of lifting the ban, the Chinese film on the creative minority in the late 1970s and early 1980s began to recover, the narrative was basically a theme the continuation of ‘ The founding of seventeen years’ period of the liberation struggle and the anti-Japanese struggle and the struggle reflected in national integration, which the story has great...
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