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National Anthem at Guangchang: Languagescape, Ideoscape, and Mediascape in the Time of Global Picture

National Anthem at Guangchang: Languagescape, Ideoscape, and Mediascape in the Time of Global Picture

Chapter:
(p.142) Chapter Five National Anthem at Guangchang: Languagescape, Ideoscape, and Mediascape in the Time of Global Picture
Source:
China in the Mix
Author(s):
Ying Xiao
Publisher:
University Press of Mississippi
DOI:10.14325/mississippi/9781496812605.003.0006

This chapter concerns and outlines Leitmotif film, a heavily state-sponsored film practice shaped by both the market and state mechanisms in the postsocialist reform. The reconciliations of Chinese cinema with Hollywood capitalism on the one hand and with the political regime on the other are the main thrusts of Leitmotif films and public culture in today’s China. Moreover, the cinematic display encoded by nationhood, historical reflexivity, transnational imaginary, and multilingual vocal track has become the defining feature of Leitmotif films, labelled as the Chinese big pictures. The chapter compares these Leitmotif epics to Saving Private Ryan (1998) and Titanic (1997) and calls particular attention to the dualities, multiformities, and congregations of varied tongues, peoples, and ideologies in the Chinese brand of blockbusters such as The Opium War (1997), Red River Valley (1996), Lover’s Grief over the Yellow River (1999), The Flowers of War (2011), The Founding of a Republic (2009) and The Founding of a Party (2011). They are epitomes of Chinawood and of the China Dream that refashion and re-vend national anthem at the restructured concourse of Tiananmen Guangchang (Square) in the late twentieth and early twenty-first centuries.

Keywords:   Leitmotif film, Hollywood, Market, State, Blockbuster, transnational imaginary, multilingualism

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