Narratives of Home and Country, Emotional Awakening, and Strategic Innovation in New Mainstream Cinema: A Path Analysis of My People My Homeland
Abstract
With the continuous improvement of the Chinese film market and the trends of political, economic, and cultural diversification,
integration, and globalization, new mainstream cinema has emerged as a form accepted by the mass market. My People My Homeland continues the episodic and anthology style of My People, My Country, using five story units to reflect major contemporary issues. This paper
analyzes My People My Homeland from the perspectives of structural paradigms, narrative angles, and strategic innovations, exploring the
development of new mainstream cinema.
integration, and globalization, new mainstream cinema has emerged as a form accepted by the mass market. My People My Homeland continues the episodic and anthology style of My People, My Country, using five story units to reflect major contemporary issues. This paper
analyzes My People My Homeland from the perspectives of structural paradigms, narrative angles, and strategic innovations, exploring the
development of new mainstream cinema.
Keywords
New Mainstream Cinema; Narratives of Home and Country; Emotional Awakening; Strategic Innovation
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PDFReferences
[1] Niu, M. (2020) 'Why "Compilation Films" Are Popular', Guangming Daily, 22 October, p. 9.
[2] Zang, Y. and Yan, Z. (2021) 'Exploration of the Narrative Strategies in New Mainstream Films: A Case Study of "My People, My Homeland"', Jin Gu Wen Chuang, (30), pp. 77-78.
[3] Zhao, W. (2020) 'Domestic Films: Reputation Builds Box Office and Continues to Dominate the Market', China Daily, 15 January.
[4] Shen, Q. and Shen, L. (2021) 'Paradigm Inheritance and Strategy Innovation of "New Mainstream Films": A Case Study of "My People,
My Homeland"', Film Literature, (07), pp. 108-111.
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