From 1897 to 1927,the spread of"humiliating Chinese films"in China was accompanied by the confrontation and game between the"see-ing"and"being seen"visual forces of modernity in both China and the West,and the inability of Chinese films to express themselves,which showed the coexistence of acceptance and resistance in the field of discourse criticism after the identification of"humiliating Chinese films".On the one hand,the insulting images of objective existence are flooding with the input of western films.On the other hand,the field of thought feedback after input is charac-terized by confusion and contradiction.The profit-making purpose of com-mercial discourse is implicitly in line with the ideology and cultural concepts of western films,and there are also national discourses among intellectuals that consciously and consciously resist"humiliating Chinese films"and advo-cate the importance of film art production in response to commercial discour-ses,thus ignoring or even opposing the critical discourses that identify"in-sulting China".The"humiliating Chinese films"in the transition period have never been able to form a unified discourse consensus,but the conflict and coexistence of multiple discourses without guidance.
关键词
"辱华电影"/晚清民初/话语/电影批评/视觉性
Key words
Humiliating Chinese Films/Late Qing Dynasty and Early Re-public of China/Discourse/Film Criticism/Visuality
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