Film and Television Culture in China

Prof. Hu Zhifeng is professor of film and television studies in Communication University of China, chief editor of Modern Communication Journal, and vice chairman and general secretary of China Higher Education Film Academy and vice chairman and secretary-general of Chinese Collegial Association for Visual Art. Professor Hu is the first Yangtze Scholar awarded by Ministry of Education in the media sector in China. He is one of founders of film, television and radio art discipline in China and a founding figure for Chinese television aesthetics. He has published more 20 academic books on Chinese film and television industries and more than 300 journal articles.

Introduction to Cultural Landscape of China in the 20th Century
0.1 The First Culture Movement: around the May 4th Movement in 1919
0.2 The Second Culture Movement- Middle of the 1980s
0.3 The Cultural Landscape of the 1990s
Part One Ontology
Chapter 1 Culture
1.1 The Definition of Culture
1.2 Composition of Culture
1.3 Several Relations and Features of Culture
1.4 Significance of Cultural Studies
Chapter 2 Film and Television Culture
2.1 Definition of Film and Television Culture
2.2 The Constitution of Film and Television Culture in a Broad Sense
Chapter 3 Film Culture and Film Art
3.1 The History of the Film Art: From a Logic Perspective
3.2 (Social) Functions and Audience (Needs) of Film Art
3.3 History of Film Form
3.4 The Development of Film Language
3.5 The Development of Film’s Creation Methods and Its Aesthetic Style
Chapter 4 Television Culture and Television Communication
4.1 Television as a Communication Medium and Culture Carrier
4.2 Features of Television Culture
4.3 Unprecedented Magnificent Cultural Landscape
4.4 Strategic Planning and Macro - Control of TV Culture Development
Part Two History
Chapter 5 Retrospect and Prospect of Film and Television Culture in China after 1949
5.1 Three Historical Phases of Chinese Film and Television Culture after 1949
5.2 Four Waves in the Film and Television Culture Construction in China during the Transitional Period
5.3 Strategic Aims and Strategic Assignments of Chinese Film and Television Culture at the Turn of the Century
Chapter 6 Two Traditions of Chinese Film Culture
6.1 Formation and Development of the Two Traditions
6.2 A Modern Interpretation of the Worldly Spirit: Xie Jin and His Hibiscus Town
6.3 A Classical Interpretation of “Poetic Style” --- Wu Yigong and An Old Story in Southern Beijing
Chapter 7 The Evolution of China’s Television Concepts
7.1 Background: Two Phases in the Development of China’s Television
7.2 The Ontology Construction of the Television Industry in China
7.3 The Evolution of Chinese TV Programs in the 1980s and the 1990s
7.4 Evolution of Five Concepts of Chinese Television in the 1990s
7.5 Thoughts upon Heated Issues
7.6 Localization: Strategies and Countermeasures of the Production of Chinese Television Programs
Part Three Analysis, Interviews and Lectures
Chapter 8 Choices in Fission and Introduction: Creation, Development and Cultural Characteristic of Chinese Spoken Drama
8.1 The Inheritance of Functioning Pattern and Conversion of the Functional Content
8.2 Obstacles in the Formation of Artistic Individuality: Imagery of Ideas, Categories, and Stylization
8.3 Audience’s Separation, Adaptation and Creation
Chapter 9 Film and Television Between Mainland China and Taiwan?An Investigation on Film and Television Industries in Taiwan
9.1 The Origin and Aim of This Visit
9.2 Main activities during the Taiwan visit
9.3 A Brief Introduction to Taiwan’s Film Industry
9.4 A Brief Introduction of Taiwan’s Television Industry
9.5 A Brief Introduction of Taiwan’s Film and Television Education
Chapter 10 Interviews and Lectures
10.1 An Interview to Wu Yigong
10.2 My Hope on Future Artist
10.3 The Meaning of Red: Viewing the Chinese Culture from Chinese Films
10.4 TV for One Billion: Historical Evolution, Current Challenges, and Future Trends in China