사회주의 중국의 문예정책과 영화비평의 정치학
Socialism Cultural Policy and the Politics of Film Critic in China
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This paper focuses on the process of change in the perception of Chinese society within the society after the establishment of socialism. As an example, I will examine the phenomenon in Chinese film history and the position and attitude toward a specific film. Specifically, it discusses the establishment and execution of cultural policy in the early period of socialism China and its influence on the film field. In addition to, it presents the Chinese Communist Party had the historical agendas, which means ‘theoretical criticism’ and ‘practical criticism’, while it posed the principal role of criticism in the process of establishing a new state. In the socialist regime, intellectuals were in conflict with the regime. Communist Party(country) had excluded the intellectuals from the field of theoretical and practical criticism. China’s socialist revolution consistently has been configured with ‘politics of negation’ as a new theory and policy by the technocrats in the Communist Party. Through this process, Chinese film transformed and transplanted the tradition of ‘Shanghai film’ as a ‘classic film’, into Hong Kong, and formed a new chapter of socialism film.
Abstract
This paper focuses on the process of change in the perception of Chinese society within the society after the establishment of socialism. As an example, I will examine the phenomenon in Chinese film history and the position and attitude toward a specific film. Specifically, it discusses the establishment and execution of cultural policy in the early period of socialism China and its influence on the film field. In addition to, it presents the Chinese Communist Party had the historical agendas, which means ‘theoretical criticism’ and ‘practical criticism’, while it posed the principal role of criticism in the process of establishing a new state. In the socialist regime, intellectuals were in conflict with the regime. Communist Party(country) had excluded the intellectuals from the field of theoretical and practical criticism. China’s socialist revolution consistently has been configured with ‘politics of negation’ as a new theory and policy by the technocrats in the Communist Party. Through this process, Chinese film transformed and transplanted the tradition of ‘Shanghai film’ as a ‘classic film’, into Hong Kong, and formed a new chapter of socialism film.
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