Nationality and Intersubjectivity of Transnational Chinese Cinema

DOI

10.2991/assehr.k.200727.181How to use a DOI?

Keywords

Transnational Chinese cinema, nationality, transnational subjectivity

Abstract

The nationality in transnational Chinese cinema are always been expressed in two ways: one is to highlight it and become the mirror image of the Western expression; the other is to conceal it and become the aphasic subject under the Hollywood paradigm. The explicit or implicit national expression is to seek a business opportunity, but it couldn’t avoid the cost of cultural discount. The strategy to get out of this dilemma is to construct a kind of “transnational subjectivity”, which is similar to intersubjectivity. On the premise of recognizing and respecting differences, it will reshape national character without losing borders in equal dialogue relations. The way to construct the transnational subjectivity is to seek the “free expression” of national character, and it depends on the prosperous local film market and highly conscious of cultural identity.

Copyright

© 2020, the Authors. Published by Atlantis Press.

Open Access

This is an open access article distributed under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/).

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TY  - CONF
AU  - Chen Xiaokang
PY  - 2020
DA  - 2020/07/27
TI  - Nationality and Intersubjectivity of Transnational Chinese Cinema
BT  - Proceedings of the 2020 5th International Conference on Humanities Science and Society Development (ICHSSD 2020)
PB  - Atlantis Press
SP  - 594
EP  - 597
SN  - 2352-5398
UR  - https://doi.org/10.2991/assehr.k.200727.181
DO  - 10.2991/assehr.k.200727.181
ID  - Xiaokang2020
ER  -