중국 영화 연구의 역사와 전망― 분과 학문의 지식 생산에서 학제간 연구로의 전환
The History and Prospect of Chinese Cinema Studies: From Disciplinary Studies to Inter-disciplinary Research
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In general, it has been only 50 years since ‘cinema’ became an object of academic research or what we call ‘film studies’ now was established as an academic discipline in university. In late 1960s, young professors of literature, history, and philosophy began to employ cinema to teach social currents of a period throughout North American colleges and universities. Summarizing the background of establishing the department of film studies as an academic discipline, David Bordwell describes the vicissitudes of film studies from the deflection of film theories associated with ‘grand theory’ in the 1970s to the variation and expansion of film theories in the 1990s. In this historical context of film studies, Chinese film studies has been gradually constructed since the 1980s. As the so-called Chinese ‘Fifth Generation’ films attracted great attention of the world, Chinese film studies has been promoted in a global level. Chinese film studies throughout the last 30 years has been discussed in a variety of perspectives. For instance, they cover a wide rage of topics from the ‘Fifth Generation’ films, to the 1990s Chinese independent films, Chinese film historiography, Chinese early cinema, critical studies on Chinese cinema, Chinese new documentaries, and Chinese commercial films. However, the traditional framework of national cinema is no longer valid to study contemporary Chinese cinema(s) in the context of globalization, because Chinese cinema(s) tends to work more and more in the transnational context, not limited to a single national border line. Thus, the issues of national cinema in Chinese cinema studies turns to the relationship between cinema and the national in a transnational context. Besides, film medium itself changes fundamentally now. With the rapid development of digital technology, what we called cinema before gradually transforms to different cinema or another visual medium. Cinema is no longer made only by celluloid film, and screened only in movie theaters. The changes of cinematic platform, which is often called ‘post-cinema’, accelerate more than ever, and the production, distribution, and reception of cinema changes rapidly and radically. As cinema interacts with other media, Chinese film studies requires a diversity of transmedia perspectives. As the categories of ‘China’ and ‘film’ as objects of research changes in an idiom of ‘Chinese film studies’, how to study Chinse film becomes problematic. Chinese film studies needs to escape from the traditional restriction of academic discipline, and seek to find a new research methodology of inter-disciplinary research including social science, natural science, and technology as well as human science. The inter-disciplinary research for Chinese film studies becomes a necessary task to construct a new knowledge production beyond the exclusive boundary of traditional academic disciplines.
Abstract
In general, it has been only 50 years since ‘cinema’ became an object of academic research or what we call ‘film studies’ now was established as an academic discipline in university. In late 1960s, young professors of literature, history, and philosophy began to employ cinema to teach social currents of a period throughout North American colleges and universities. Summarizing the background of establishing the department of film studies as an academic discipline, David Bordwell describes the vicissitudes of film studies from the deflection of film theories associated with ‘grand theory’ in the 1970s to the variation and expansion of film theories in the 1990s. In this historical context of film studies, Chinese film studies has been gradually constructed since the 1980s. As the so-called Chinese ‘Fifth Generation’ films attracted great attention of the world, Chinese film studies has been promoted in a global level. Chinese film studies throughout the last 30 years has been discussed in a variety of perspectives. For instance, they cover a wide rage of topics from the ‘Fifth Generation’ films, to the 1990s Chinese independent films, Chinese film historiography, Chinese early cinema, critical studies on Chinese cinema, Chinese new documentaries, and Chinese commercial films. However, the traditional framework of national cinema is no longer valid to study contemporary Chinese cinema(s) in the context of globalization, because Chinese cinema(s) tends to work more and more in the transnational context, not limited to a single national border line. Thus, the issues of national cinema in Chinese cinema studies turns to the relationship between cinema and the national in a transnational context. Besides, film medium itself changes fundamentally now. With the rapid development of digital technology, what we called cinema before gradually transforms to different cinema or another visual medium. Cinema is no longer made only by celluloid film, and screened only in movie theaters. The changes of cinematic platform, which is often called ‘post-cinema’, accelerate more than ever, and the production, distribution, and reception of cinema changes rapidly and radically. As cinema interacts with other media, Chinese film studies requires a diversity of transmedia perspectives. As the categories of ‘China’ and ‘film’ as objects of research changes in an idiom of ‘Chinese film studies’, how to study Chinse film becomes problematic. Chinese film studies needs to escape from the traditional restriction of academic discipline, and seek to find a new research methodology of inter-disciplinary research including social science, natural science, and technology as well as human science. The inter-disciplinary research for Chinese film studies becomes a necessary task to construct a new knowledge production beyond the exclusive boundary of traditional academic disciplines.
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