Introduction
The spheres of culture, art, and creativity are mainly social and human activity areas to embody aesthetic values and develop objective knowledge about the world through specific methods and means. Undoubtedly, these spheres continue to grow and improve, and it is not excluded that new opportunities for their improvement and modernization will soon appear. To date, art within the framework of cinema has been able to achieve a sufficiently high intellectual, acoustic, visual, and technical progress. The development of this industry is rapidly and actively manifested not only in the West, as is commonly believed, but also in the countries of the eastern hemisphere. For example, according to several pieces of research, cinema and films in China have become a national, cultural, and creative heritage, prevailing over several other critical elements of public activity. It is not unlikely that many countries and regions will soon equal the level of film production that China has achieved at the moment. Cinematography and film festivals are the most crucial part of cultural and creative components in China that directly impact socio-cultural processes in the country and all world regions.
Background
It is no secret that modern films are art, a special and unique kind of creative activity of both individuals and groups of people and society. More than a hundred years have passed since the creation of the first film, during which millions of “pictures” with a wide variety of subjects were presented. This period has changed people’s minds, and today it is not easy to imagine life without cinema.
Surely, some people know and guess that it was the American people who were able to make a sufficiently extensive contribution to cinema. In a sense, they become one of the “pioneers” in the world of elaborated, deeply studied, and detailed cinema. Without any doubt, it is worth noting that it is Hollywood is especially famous for the studios located in this place, in which quite large sums, forces, and hopes are invested (Song, 2018). Indeed, everyone has watched at least one Hollywood movie in their life and understands how painstaking and filigree work is done in pavilions and outdoor areas where films are shot. A person realizes how well the scenery, costumes are created, the dialogues are worked out to the smallest detail, and the actors’ play makes the viewer worry about the film’s hero. To some extent, American cinema, film festivals, and culture are still considered a benchmark and an example to follow.
However, in the era of globalization, there has been a sharp revaluation of values and views. As evidenced by statistics showing a sharp increase in interest in Chinese culture, films, and special festivals (Song, 2018). Today, China demonstrates an interest in modern, relevant, and fresh art and strives to “promote to the masses” its traditions, norms, and views through cinematography and perception via big screens (Zhang & Dai, 2021). Consequently, the eastern state, at the moment, is in no way inferior to Hollywood in terms of the quality of shooting and editing movies, and the culture and creative potential of a particular people have its unique features, mainly prevailing over the “opponents.”
Undoubtedly, in general terms, like any art, cinema has the property of reflecting the consciousness and mentality of a certain people and the culture, values, traditions, and worldview of a particular nation. Cinema should not be accepted only as a separate art form, but as a different parallel reality in which everyone can find something for themselves, get new ideas, and be inspired by the creativity of certain people. Indeed, there is a fine line, or rather, some relationship between films and directly the creativity and culture of a particular country, which must be identified, clarified, and justified. Thus, the art of creating and developing films contributes to the state’s comprehensive development. At the same time, the culture and creativity of citizens are reflected in films, demonstrating their significance and importance to indigenous residents and foreigners.
In connection with the above facts and assumptions, the relevance and significance of the topic of this study are indicated. Thus, the research topic’s “validity” was due to the importance of the impact of cinema, film festivals, and curation on the socio-cultural and creative situation in China and beyond the region. Moreover, the research problem is the lack of elaboration in the scientific literature of concepts regarding the relationship between cinema and cultural, creative aspects in China. Thus, the creation of new products in the film industry, the holding of various film festivals and special events in several Chinese cities together represent the formation processes of different social spheres of society. As part of cultural and creative aspects, films directly attract the attention of both locals and foreigners, developing not only tourist motivation but also the political, economic, social, and spiritual component of the state. In accordance with this, the topic of this study was determined: “films’ influence on cultural and creative industries in China.”
Draft Structure
It is necessary to emphasize the significance of conducting preliminary planning and designing the structure and content of the research. This is one of the critical components of conducting work, allowing one to take into account the strengths and weaknesses of the work processes, consider essential concepts and correctly apply them in the text. In this case, existing ideas and considerations are synthesized, as well as new and more advanced thoughts and decision-making models are identified.
The systematic and consistent process of writing a research paper consists of the following key stages. At the first stage, the study topic is determined, the thesis and the problem, the goals and objectives of the study are identified, and hypotheses are put forward. This section deeply examines and analyzes the scientific literature on the issues of research and thematic materials. At the second stage, practical studies are being conducted, the purpose of which will be to determine the interrelationships between China cinema, festivals, and cultural, creative aspects of the country. As a result of using a wide range of research methods, the material and data will be collected, allowing the author to state the available facts, draw certain conclusions, and outline plans for future explorations. At the third stage of the study, the study’s results will be analyzed, the investigation is completed, and the study’s theoretical, practical, and methodological part is carried out.
The completed research work will have the following structure. The theoretical part, reflecting the features and significance of the totality of films, festivals, curation with cultural and creative components of China. The practical part is designating and defining the close links between the above concepts, explaining these elements’ mutual influence and complementarity within China and beyond. The methodological part demonstrates the possibility of applying the results of research work in practice.
The Main Points
Modern cinema is a special kind of art based on a rich creative atmosphere, extended technical support, psychology of audience perception, and many other equally important aspects. This kind of art is a rather complex and multifaceted phenomenon, the development, improvement, and transformation of which took place for many years under the influence of various spheres of public life. Movies have reached such unprecedented heights, due to which they can have completely different forms, variations, and representations, unlike their “predecessors.” To date, it combines several elements of perception of reality at once. The film industry continues to gain momentum, attracting several interested parties. Therefore, today, the film industry and its products, local events, and film festivals are a dominant part of cultural and creative aspects. Moreover, such critical and significant phenomena contribute to the formation and development of political, economic, social, and spiritual elements both inside a particular state and outside it. These processes have a decisive impact on both an individual and a group of people and society as a whole.
Summarizing the Key Concepts
The connection between the developed film industry and the well-being of countries within the framework of creative and cultural concepts is quite well known. For instance, according to the analysis conducted by Mandić, Petrić and Pivčević (2017), films and festivals are an integral part of the “artistic” industries. Moreover, these ideas and views have a broad impact on tourism and the subsequent effect and impact on the progressive development of socio-economic potential and political processes. For instance, various events and film festivals in Chengdu, Guangzhou, Shanghai, and other cities are gaining popularity, revealing stakeholders, the talents of new directors and more experienced filmmakers in this field. The promotion and development of the Chinese film industry, cinema, and festivals make it possible to create unique and more advanced conditions for prosperity and well-being in the country.
Critical Evaluation
However, current research does not focus on a more specific example. Hence, in the era of globalization, cardinal innovations and rapidly changing conditions, there is an increasing tendency to turn to the culture and experience of Eastern countries, in contrast to Western “competitors.” Such moments are characterized by uncertain social transformations, dynamics of changes in spiritual and moral needs, revaluation of views and values, active violation of generally accepted norms and standards, and the crisis of spiritual culture. Consequently, the results of previous studies require additions and adjustments to understand the peculiarities of the influence of cinematography and relevant events on China’s cultural and creative components.
Recent Theoretical Perspectives
In the light of these issues, researchers are increasingly becoming interested in the relationship between cinema art and cultural, artistic, and creative elements. From now on, the cinema of China is a set of complex and integrative cultural phenomena within which aesthetic, psychological, economic, and other subjects interact. Thus, Zhang and Dai (2021) theorize that Chinese media culture and cinema have a unique and inimitable industrial structure and interconnected global and geographical features. The scientists also claim that the creations of the Chinese film industry are international in nature, spreading locally and abroad (Zhang and Dai, 2021). This makes the country more competitive and successful in terms of the development of cultural and creative heritage. As a kind of social institution, “eastern cinema” shapes a viewer and influences society, contributing to the expansion of consciousness. Nevertheless, Chinese cinema has been and remains one of the most fundamental ways of self-expression and self-description of modern society, community, and a particular nation.
Synthesis of the Studies
It is worth noting that several relevant theoretical and empirical studies have been aimed at a comprehensive analysis of this theme. As Yang and Černevičiūtė (2017) note, films are still one of the most basic and essential divisions of culture that continue to “build strength.” In particular, such a fast-growing sector could be influenced by market and non-market factors (Zhang & Li, 2018). Compared to Western “opponents”, China shows a more “authoritative” model regarding the production and consumption of films inside and outside the country (Zhang & Li, 2018). Furthermore, Song (2018) also claims that Chinese cinema has only been gaining momentum lately and will not give way to Hollywood cinema. According to the data presented in this study, the country expands the “range” of films shown every year and increases the number of cinemas throughout the region (Song, 2018). This information gives rise to reflections on the fact that cinema, as part of cultural and creative elements, in many aspects prevails and dominates over similar branches of human activity. The community brought up by this cinema is becoming more sophisticated in art and requires new achievements from Chinese cinema, both technical and creative.
A Gap in the Literature
Nonetheless, there are currently no reliable, appropriate, and relevant reflections on the impact of China’s films and movie festivals on the local and foreign cultural, creative industries at the same time. An analysis of the relevant literature has shown an insufficient degree of knowledge of the problem, which is one of the most potent arguments for the preparation of this study. Hence, there is a need for a more in-depth and comprehensive case study to thoroughly demonstrate the significance of such vital phenomena on the social elements of the Chinese state and civilization. Therefore, the research’s expected results, facts, and ideas will help determine the essence and content of the specifics of the topic and try to fulfill the goals set and answer the designated questions.
Summary of the Section
In brief, it is worth noting the following key concepts extracted from specific literature. The film, movie industry, festivals, and curation are integral to China’s cultural heritage and creative inspiration. Research has demonstrated the importance of a broad contribution to developing such a significant industry for local society and foreigners. Chinese cinema does not seek to “slow down” and claims to occupy a leading position compared to European and American “competitors.” Moreover, the presented and indicated bibliography of used literature is one of the most fundamental components of research processes and empirical data. It allowed one to look at research problems from different angles, sides, and points of view and form certain conclusions, thoughts and beliefs. This “investigation” eliminates the gaps indicated above and contributes to acquiring new knowledge about cultural, creative, and resident elements, coupled with cinematography and film production in Chinese society and the state.
Methodology
The basis of the research was a set of methods of scientific cognition used to achieve the purpose of the work. The methodological and theoretical basis of this paper was the scientific works of domestic and foreign researchers in the field of studying the issue of film as part of China’s cultural and creative aspects. The information base of the study was the actual, verified, and reliable references, sources of information from Google Scholar, ResearchGate, SAGE Publications, Entrepreneurship and Sustainability Center, and ScienceDirect. Scientific research and concepts that generalize the principles and mechanisms of synthesis of modern cinema with the most important social elements in a particular state were quite extensive in practical and theoretical moments. During the research and presentation of the material, a general scientific approach was used – systematization. In this situation, the collected information is presented in a convenient form for further generalization and analysis by grouping it according to certain characteristics and information. Moreover, the methods of scientific cognition (analysis and synthesis, induction and deduction, scientific abstraction, historical and logical modeling, and a number of others) were used in the work.
Research Aim (Expected Research Contribution)
Undoubtedly, in order to perform a high-quality and filigree paper, the expected and desired outcomes of this “investigation” should be noted in this key. Such significant, meaningful aspects help outline the focus of the work and identify the right direction in which the “explorer” reveals the central theme of the research. The presumptive forecast of the results gives a certain impetus and a reason for the audience to get acquainted with the general, critical details of the work for subsequent reading, study, and analysis. Hence, the aim and objectives of this research are indicated as follows.
Aim
The research aims to establish a close connection and relationship between films, film festivals, curation in China and regional culture, creativity. Thus, the primary purpose of this study is to clarify the strong links between these parts. Indeed, there are certain principles and mechanisms that determine the formation of these conditions and circumstances. The work’s author seeks to explain and substantiate facts regarding such a phenomenon as films, film industry, and special events directly related to China’s culture and creative components.
Objectives
Accordingly, to achieve the necessary and expected results, the following tasks should be taken into account. First of all, it is recommended to analyze the relevant and appropriate literature on the subject of the paper, reflecting the essence, content, and specifics of the identified issues and problems of the paper. Secondly, a thorough analysis of the selected sources of information and references of information should be carried out using several research methods. Thirdly, it is necessary to identify general and particular patterns and aspects that allow one to get specific answers to the questions posed during the work and get closer to fulfilling the designated goal. Fourth, having done such detailed and thorough analysis, in this case, it is impossible to do without concluding specific judgments and decisions on the subject of the study.
Summary of the Section
In brief, the above concepts are auxiliary, supporting means in predicting certain results. Due to the already noted and specified goals and objectives of the study, the process of searching for literature is simplified, as well as its subsequent review and comprehensive analysis, which allows drawing conclusions. The study’s author strives to come to the findings that would enable one to say with full justification and with evident confidence that there is a vital connection between Chinese films and cultural, creative elements. In this vein, cinema, film production, and various unique festivals form and develop the national and cultural characteristics of the country, enriching and saturating its creative potential while making it competitive on the “world stage.”
References
Mandić, A., Petrić, L., & Pivčević, S. (2017). Film as a creative industry constituent and its impacts on tourism development: Evidence from Croatia. Tourism in Southern and Eastern Europe, 4(1), 335-348.
Song, X. (2018). Hollywood movies and China: Analysis of Hollywood globalization and relationship management in China’s cinema market. Global Media and China, 3(3), 177-194.
Yang, J., & Černevičiūtė, J. (2017). Cultural and Creative Industries (CCI) and sustainable development: China’s cultural industries clusters. Entrepreneurship and Sustainability Issues, 5(2), 231-242.
Zhang, X., & Li, Y. (2018). Concentration or deconcentration? Exploring the changing geographies of film production and consumption in China. Geoforum, 88, 118-128.
Zhang, X., & Dai, J. (2021). Cultural and creative production in the era of globalization: Exploring the trans-border mobility of Chinese media and entertainment celebrities. Geoforum, 120(4), 198-207.
PhD Research Timetable (Gantt Chart)
Project Timeline: December 23, 2021 – December 25, 2021.