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Journal of Humanities, Arts and Social Science

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Article Open Access http://dx.doi.org/10.26855/jhass.2023.05.026

Are Film Festivals a Last Resort? Chinese Audiences’ Attitudes towards Slow Cinema

Yinze Li

School of Arts, English and Languages, Queen's University Belfast, Belfast, United Kingdom.

*Corresponding author: Yinze Li

Published: July 3,2023

Abstract

The aim of this article is to examine Chinese audiences' perceptions and evaluations of the particular genre of slow cinema. The genre of slow cinema, which is outside the mainstream of commercial cinema, has been the subject of constant controversy regarding its aesthetic characteristics. However, the field of research on audience attitudes is relatively empty. Through the research in this essay, an attempt is made to summarise and discuss the attitudes of Chinese audiences towards slow cinema in some way. By using Chinese director Jia Zhangke's The World and Mountains May Depart from the Mountain River as examples, the study analyses why audiences' attitudes towards slow cinema vary greatly in relation to its aesthetic characteristics and its performance in film festivals. Through this study, it was found that slow films with their unique slow aesthetic characteristics bore audiences in a fast-paced society. This classical film aesthetic, despite its high value in terms of cinematic art, is not easily accepted by audiences who prefer mainstream commercial blockbusters.

References

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Filmography

Bi, Gan. Kaili Blues. 2015. Film. CN: Blackfin Culture and Media.

Bi, Gan. Long Day's Journey Into Night. 2018. Film. CN/FR: Beijing Herui FIlm Culture/CG Cinéma.

Cai, Chengjie. Mirrors and Feathers. 2017. Film. CN: Beijing Glazed Sky Production.

Chen, Kaige, Lam, Dante, Tsui, Hark. The Battle at Lake Changjin. 2021. Film. CN: Bona Film Group/CFGC.

Chen, Sicheng. Detective Chinatown 3. 2021. Film. CN: Huayi Brothers Media.

Chow, Stephen. Kung Fu Hustle. 2004. Film. HK/CN/US: Taihe Film/Huayi Brothers Media.

Gwo, Frant. The Wandering Earth. 2019. Film. CN: Beijing Culture.

Hui, Raman. Monster Hunt. 2015. Film. CN/HK: BDI Films/Edko Films.

Jia, Ling, Hi. Mom. 2021. Film. CN: Beijing Culture.

Jia, Zhangke. Ash Is Purest White. 2018. Film. CN/FR/JP: MK2/Shanghai Film Group.

Jia, Zhangke. Mountains May Depart. 2015. Film. CN/FR/JP: MK2/Shanghai Film Group.

Jia, Zhangke. The World. 2004. Film. CN/FR/JP: Office Kitano/X Stream Pictures.

Jia, Zhangke. Xiao Wu. 1997. Film. CN/HK: Hu Tong Communications.

Ozu, Yasujiro. Tokyo Story. 1953. Film. JP: Shochiku.

Shen, Teng, Wu, Jing, Xu, Zheng. My Country, My Parents. 2021. Film. CN: China Film Co., Ltd.

Tsai, Ming-liang. Vive L'Amour. 1994. Film. TW: Central Motion Pictures.

Wu, Tianming. Song of the Phoenix. 2013. Film. CN: United Entertainment Partners.

Xin, Yukun. The Coffin in the Mountain. 2014. Film. CN: Beijing Herui Film Culture.

Xu, Zheng. Lost in Hong Kong. 2015. Film. CN/HK: Luck Road Culture Communication.

Zhang, Dalei. The Summer Is Gone. 2016. Film. CN: Beijing Mailis Pictures.

Zhang, Yimou. Hero. 2002. Film. CN: Edko Films/Beijing New Picture Film

Zhang, Yimou. House of Flying Daggers. 2004. Film. CN/HK: Beijing New Picture Film. 

Zhao, Chloé. Nomadland. 2020. Film. US: Cor Cordium Productions.

Websites

Douban. https://douban.com. 

Maoyan Pro. https://piaofang.maoyan.com/mdb/rank.

How to cite this paper

Are Film Festivals a Last Resort? Chinese Audiences' Attitudes towards Slow Cinema

How to cite this paper: Yinze Li. (2023) Are Film Festivals a Last Resort? Chinese Audiences' Attitudes towards Slow Cinema. Journal of Humanities, Arts and Social Science7(5), 1021-1026.

DOI: http://dx.doi.org/10.26855/jhass.2023.05.026