Realism, Formalism, and Classicalism: A Comparative Study of Chinese Women’s Cinema Styles

Main Article Content

Lu Zhang
Yu-Chih Lin

บทคัดย่อ

         This research compares Chinese women’s cinema across three styles and analyzes the differing psychological responses of audiences. Narrative persuasion and media appreciation as the two measurement variables use to examine audiences’ psychological tendencies while viewing different styles of Chinese women’s cinema.
          The literature of realism, formalism, classicalism, media appreciation and narrative persuasion is conducted. Quantitative method, a quasi-experimental design research method, is adopted. The study concludes that, compared to the other styles, the influence of classical-style women’s cinema on narrative persuasion is more significant, while the influence of realistic-style women’s cinema on media appreciation is more pronounced.


 

Article Details

บท
บทความวิจัย

References

Bordwell, D., Thompson, K., and Smith, J. (2008). Film art: An introduction. New York: McGraw-Hill.

Chen, J. (2021) Sister: Melodramas and the Impossibility of an Open Ending. Film Art, 3, 70-73.

Cohen, J. (2001). Defining identification: A theoretical look at the identification of audiences with media characters. Mass communication & society, 4 (3), 245-264.

Cohen, T. F. (2012). After the New American Cinema: Shirley Clarke’s video work as performance and document. Journal of film and video, 64 (1-2), 57-64.

DeLauretis,T.(1990). Eccentric Subjects: Feminist theory and historical consciousness. Feminist Studies, 16 (1), 115-150.

Giannetti, L. D., and Leach, J. (1999). Understanding Movies. NJ: Prentice Hall.

Green, M. C., and Brock, T. C. (2000). The Role of Transportation in the Persuasiveness of Public Narratives. Journal of Personality and Social Psychology, 79 (5), 701.

Green, M. C., Brock, T. C., and Kaufman, G. F. (2004). Understanding Media Enjoyment: The Role of Transportation into Narrative Worlds. Communication theory, 14 (4), 311-327.

Kang, E. (2007) Film Art Theory. Nanjing University Press.

LI, D. (2013). Analysis of Western Feminist Film Styles. Sanmenxia Polytechnic Press., 3, 74-76.

Uniyal, G. (2022) Mythological Portraits with Modern Feminist Values: A Study of Volga’s The Liberation of Sita. Literary Voice.19, 37-43.

Mulvey, L. (1989). Visual Pleasure and Narrative Cinema. In Visual and other pleasures ,14-26. London: Palgrave Macmillan UK.

Oliver, M. B., & Bartsch, A. (2010). Appreciation as Audience Response: Exploring Entertainment Gratifications beyond Hedonism. Human Communication Research, 36 (1), 53-81.

Oliver, M. B., & Nabi, R. L. (2004). Exploring the Concept of Media Enjoyment: An Introduction to the Special Issue. Communication Theory, 14 (4), 285-287.

Sreeshan, S. (2023) Understanding the Feminine Voices: A Study of Women in Selective Malayalam Cinema. International Journal of English Literature and Social Science, 8 (6),125-129

Slater, M. D., & Rouner, D. (2002). Entertainment—education and elaboration likelihood: Understanding the Processing of Narrative Persuasion. Communication theory, 12 (2), 173-191.

Zhang, W. (2014). Brief Discussion of Chinese Women Cinema’s Development and Dilemma. Southeast Communication, 3, 80-81.

Zhang, Y. (2018). Chinese Women Cinema Aesthetic Style. Dianying Wenxue , 4, 30-32.