| 英文摘要 |
This study analyzes changing patterns of Independent Film Making in China between 1990 and 2013. As China has followed a state capitalism model, her market economy is imbued with conservative aesthetics and politics. In consequence, alternative film-makers have so far taken three distinguishable practices. To begin with, in days when only in-house production was permitted and monopolized by the state studios, they solicited financial resources from overseas. As the state encourages independent movie production aiming at commercial gains, they instead opted for realism. In the latest, in spite of the state's tightening its grip upon the net, they have groomed on-line and off-line audience wishing to find alternative audio-visual expressions. It's concluded that, although these independent films run counter to the state ideology and imperatives of commercial entertainment, it's inappropriate should they be extolled to the status of heroic resistances. Rather, they are necessarily played out by agent's strategies and practical conditions existing in the field. |
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