TY - JOUR
T1 - Official Chinese film awards and film festivals
T2 - History, configuration and transnational legitimation
AU - Nakajima, Seio
N1 - Funding Information:
This research was partly supported by JSPS KAKENHI Grant Number 16K03822.
Publisher Copyright:
© 2019, © 2019 Informa UK Limited, trading as Taylor & Francis Group.
PY - 2019/9/2
Y1 - 2019/9/2
N2 - Film awards and film festivals are one of important mechanisms that structure film markets, with awards activities as well as industry-related events. This paper examines government-approved, ‘official’ Chinese film awards such as the Huabiao Awards, the Hundred Flowers Awards and the Golden Rooster Awards, as well as film festivals including Changchun Film Festival, Shanghai International Film Festival and Beijing International Film Festival. I tackle three research questions: (1) How and when did the awards and the festivals come into existence? (2) What is the configuration of different types of awards and festivals? (3) What are different criteria of legitimation of the awards and the festivals? Contrary to the widely shared image of official Chinese film awards and festivals as closed sites of domestic political correctness, I show the dynamism and multiplicity of logics within them. In addition, I situate the awards and festivals in the ongoing context of transnationalisation of Chinese cinema. Analytically, I argue for the utility of ‘field theory’ in sociology to understand the structure and dynamics of official Chinese film awards and film festivals.
AB - Film awards and film festivals are one of important mechanisms that structure film markets, with awards activities as well as industry-related events. This paper examines government-approved, ‘official’ Chinese film awards such as the Huabiao Awards, the Hundred Flowers Awards and the Golden Rooster Awards, as well as film festivals including Changchun Film Festival, Shanghai International Film Festival and Beijing International Film Festival. I tackle three research questions: (1) How and when did the awards and the festivals come into existence? (2) What is the configuration of different types of awards and festivals? (3) What are different criteria of legitimation of the awards and the festivals? Contrary to the widely shared image of official Chinese film awards and festivals as closed sites of domestic political correctness, I show the dynamism and multiplicity of logics within them. In addition, I situate the awards and festivals in the ongoing context of transnationalisation of Chinese cinema. Analytically, I argue for the utility of ‘field theory’ in sociology to understand the structure and dynamics of official Chinese film awards and film festivals.
KW - China;
KW - field theory;
KW - film awards;
KW - film festivals;
KW - film industry;
KW - film markets
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U2 - 10.1080/17508061.2019.1678498
DO - 10.1080/17508061.2019.1678498
M3 - Article
AN - SCOPUS:85074793034
SN - 1750-8061
VL - 13
SP - 228
EP - 243
JO - Journal of Chinese Cinemas
JF - Journal of Chinese Cinemas
IS - 3
ER -