Title Page
Abstract
Contents
Ⅰ. Introduction 11
1. Background and purpose of the research 11
2. Research status 14
2.1. Current status of research in China 14
2.2. Current status of research in Europe and the US 16
3. Research content and methodology 19
3.1. Research content 20
3.2. Research methodology 22
Ⅱ. The Impact of Digital Technology on Film Art 25
1. Digital technology produces digital movies 26
1.1. The development process of digital film 26
1.2. Rational application of digital technology 32
2. The impact of digital technology on the aesthetic form of film 35
2.1. Digital technology drives the development of film aesthetics 37
2.2. Digital technology enhances the aesthetic value of movies 41
3. Digital technology extends the essence of film art 46
3.1. Digital technology gives a new meaning to the art of film 49
3.2. Digital technology promotes the integration of art and technology 52
Ⅲ. Narrative Art Change of Digital Image 55
1. Expands the expressive power of film art 57
1.1. The reflection and construction of reality by images 58
1.2. The reconstruction of "reality" by virtual reality 61
2. Expanded the narrative function of film art 67
2.1. Narrative-based to image-based 69
2.2. Diversification of narrative methods 71
3. Created a new time and space for film narrative 79
3.1. Weakness to real space 80
3.2. The expansion of narrative time and space 84
Ⅳ. Analysis of the Development Status of Chinese Digital Film Industry 94
1. The development history of Chinese digital film industry 95
1.1. The establishment of Chinese digital film industry 96
1.2. Integration of digital film and new media 111
2. The current status of digital film production in China 117
2.1. The wide application of digital film technology 117
2.2. Analysis of Chinese digital movie industry pattern 125
3. Narrative features of Chinese digital film 138
3.1. The fusion of Western fantasy elements and traditional Chinese stories 139
3.2. Decentralized narrative style 142
4. Narrative analysis of Chinese digital film 145
4.1. From narrative text to IP conversion 146
4.2. From mainstream grand narrative to landscape mini-narrative 149
Ⅴ. Trends in Chinese Digital Film Industry 154
1. Development strategy of Chinese digital film industry 155
1.1. The core competencies of Chinese digital film industry 158
1.2. The dilemma of Chinese digital film industry and the way out 163
2. Problem analysis of Chinese digital film industry 171
2.1. The dilemma of Chinese digital movie industry and the way out 172
2.2. Insufficient international competitiveness of Chinese digital film 180
3. Chinese digital film industry in the context of globalization 184
3.1. Breaking the boundaries of the cultural nationalist framework 185
3.2. Digital development and cultural export of Chinese film 189
Ⅵ. Conclusion 197
References 201
개요 206
[Figure 1] Research content and methodology mind map 24
[Figure 2] Computer graphics 27
[Figure 3] A still from Toy Story 30
[Figure 4] A still from Avatar 31
[Figure 5] A still from Old Summer Palace (圓明園) 48
[Figure 6] A still from Terminator 2: Judgment Day 56
[Figure 7] A still from Hero (英雄) 70
[Figure 8] A still from Surrogates 78
[Figure 9] A still from Back To The Future 87
[Figure 10] A still from 2001: A Space Odyssey 88
[Figure 11] A still from Final Fantasy 90
[Figure 12] The Emperor's Shadow (秦頌) movie poster 98
[Figure 13] Crash Landing (緊急迫降) movie poster 100
[Figure 14] Red Cliff (赤壁) movie poster 105
[Figure 15] Wolf Warriors 2 (戰狼2) movie poster 108
[Figure 16] The Wandering Earth (流浪地球) movie poster 110
[Figure 17] Domestic box office and number of screens for 2011-2021 119
[Figure 18] Chinese domestic film production for 2011-2021 120
[Figure 19] Percentage of IP-based films in China for 2017-2021 121
[Figure 20] Domestic/imported movie box office percentage for 2017-2021 122
[Figure 21] Chinese movie theater market share in 2020 129
[Figure 22] Distribution of movie genres with over 10 million box office in China 160