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Institutions of Consecration

Chapter

Abstract

After a group of films were separated from the mainstream by production means, subject matters, and style, the interpretations produced by a set of auxiliary institutions were needed to brand these films as “new” and “artistic.” This materialistic and symbolic dual production is a universal working mechanism also found in the Western modern art world. In the formative years of Chinese art cinema, the symbolic production was particularly important because the underground nature of many of these films made them nearly inaccessible to general audiences. The artistic values of these films were largely appraised, endorsed, and promoted by critical institutions. This chapter identifies three such crucial institutions: director-centered discourse, the Beijing Film Academy, and international film festivals.

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Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Li Yang
    • 1
  1. 1.Department of Foreign Languages and Literatures Lafayette CollegeEastonUSA

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