Dilemma And Solution: Research On The Cultural Subjectivity Of Chinese Film And Television Criticis

Over the years,the rapid development of Chinese film and television has brought a wide demand for film and television criticism,and the new phenomenon in the field of film and television culture urgently needs to be noticed and explained.Chinese film and television criticism has entered a state of widespread demand,and its quantity has also entered a stage of explosion.Therefore,the surge in the number of Chinese film and television criticism has brought a series of new problems.The key of these new problems lies in the absence and aphasia of film and television criticism at the level of cultural subjectivity,which is embodied in two aspects.Firstly,the Chinese film and television criticism has been irrationally over-westernized,and the "Chinese characteristic" of film and television criticism has been absent.Secondly,there are also many problems in some critical texts that use Chinese methods,Chinese theories and Chinese ideas.Such as excessive literature,excessive commercialization and so on.Based on this,the above problems force the reconstruction and establishment of the subjectivity of the critical culture of film and television,and bring the disordered,biased and lax critical discourse back to the right track.Taking Chinese film and television and criticism of Chinese film and television as the research object,the paper mainly studied academic journal papers and critical texts of network films and television,and comprehensively used research methods such as literature method,text analysis method,inductive and deductive method to conduct in-depth discussion from the perspective of cultural subjectivity.Firstly,the history and current situation of criticism of Chinese film and television were sorted out.Its historical origin was grasped,three important overall development characteristics of ideological emancipation and the influx of Western literary and artistic thoughts,continuous reflection and the paradigm change of the Internet era,and the construction of film and television theory with Chinese characteristics were proposed.So as to provides the necessary background and reference for the subsequent argumentation.The third chapter,fourth chapter and fifth chapter were the research core.The third chapter first affirmed the positive significance and important influence of western thought,concept and literary theory on Chinese film and television,and criticism of Chinese film and television.But at the same time,in the process of Chinese film and television criticism drawing lessons from western theories,problems such as "read without understanding its meaning","irrationality" and "unscientific" were still quite serious,which lack of dominance and independence.On the one hand,western culture cannot be regarded as the identity and subject in the subjective construction of criticism culture of Chinese film and television.On the other hand,the misunderstanding and misuse of Western culture in Chinese film and television criticism must be taken seriously and reflected.In the fourth chapter,the imbalance of cultural subjectivity pattern in Chinese film and television criticism was discussed.It focused on the construction of benign communication,dialogue mechanism,integration and mutual learning among the three different cultural forms,and put forward that "mainstream criticism" firmly sticked to the direction of expression,and sought to change the way and voice of expression.For example,"elitist criticism" sticked to the writing paradigm and tried to balance the academic understanding of expression;In addition,the popularization of the expression text should be strengthened."Mass criticism" should insist on the popularization of expression,further check should be made on the expression of views,and the restriction and remodeling of "commercial nature" should be made to form an open and tentative integration between the relations and structures of different cultural subjectivity.In the fifth chapter,based on the above in-depth research,the problem of "three transformations" in the realistic predicament of Chinese film and television criticism was put forward.It pointed out that the problem of literary tendency,the problem of misreading and the problem of market stimulation should be treated rationally.In the sixth chapter,taking predicament as the starting point,the cultural subjectivity of Chinese film and television criticism was reconstructed according to the Chinese realistic context.From the standpoint of national demand and industry practice,it extended,improved,supplemented and constructed the subjectivity of Chinese film and television criticism culture from the aspects of cultural consciousness,cultural confidence and cultural independence.In this way,the benign and sustainable ecology of the cultural subjectivity of Chinese film and television criticism could be explored.