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After the "Cultural Revolution" in 1976, the Chinese film industry returned to normal. Between 1976 and 1979, most filmmakers returned to their film studios and began to reorganize the production system. After 1980, the Chinese film industry began to develop multi-dimensionally. The highlight of this development was the rising of a large number of young directors and their works, which became hits and attracted attention both at home and abroad. More and more Chinese films were seen at international film festivals, often winning the awards. This study focuses on the important period between 1976 and 1988 in the Chinese film history and its influence on the development of the Chinese film industry; it concludes with the discussion of the direction the Chinese film industry is heading in the future.

Cette thèse se consacrera à la question de construction d'une mémoire collective de la révolution culturelle (1966-1976) par le cinéma chinois contemporain de l'année 1979 à 2005. cette thèse n'est pas une étude esthétique du cinéma chinois ; son axe central consiste à faire une analyse et une interprétation socio-historique des films et à interroger le cinéma en tant qu'il offre un ensemble de représentations qui renvoie directement ou indirectement à la société réelle du passé. au lieu de mesurer des empreintes déposées dans la « mémoire nationale » des années de troubles par les images cinématographiques, je vais tenter de comprendre et faire comprendre comment l'histoire de la révolution culturelle avait été convoquée, figurée et réinventée par le cinéma chinois en fonction des enjeux du temps présent. la lecture historique et sociale des films qui abordent la question de la mémoire collective permettra d'atteindre à des zones non-visibles de la société chinoise pendant la révolution maoïste. elle permettra aussi de comprendre comment la mémoire d'un événement traumatisant pour la société est en permanence recomposée pour s'inscrire dans une identité collective en continuelle mutation. / This thesis is devoted to studying the collective memory of the Cultural Revolution through contemporary Chinese films (1979-2009). The central theme is to demonstrate how de ―seventh art‖ contributed to the vitality and diversity of the writing of the Cultural Revolution history. The Cultural Revolution had highly serious economic and social consequences for the Chinese society as a whole. My interest is to inquiry into the place and responsibility of the individuals in this history through the social-historical interpretation of the films which refers directly or indirectly to the Chinese society of the past. The film about the history and memory can be seen as an agent enhancing our understanding of the history. Reading films about the history and memory will not only provide the link between the past and present for a society, but also provide the guidance to its future. Furthermore, it also helps to understand how the memory of a traumatic event is continuously rewritten by the Chinese society in order to construct a national identity and to fight against forgetting. The question of the identity has also a political significance. Rewriting the history of the Cultural Revolution is also vital to the Chinese authorities who need to re-affirm the legitimacy of its power. Taking into account the place and responsibility of the individuals in the Cultural Revolution is a fundamental issue for writing this traumatic history, which constitute the center of this thesis.

西方自從1970年代末期逐漸重視華語電影，國內外影評、輿論經常以「中國電影熱」形容這個現象，本研究將此現象置入歷史文化的脈絡中分析，認為這個現象肇因於當時西方面對封閉而陌生的中國，一種交織過去文化想像、殖民經驗、神秘氛圍、現實需求（戰略考量、廣大的市場）所形塑的心理動機，並展現在許多不同領域，而電影「中國熱」是在此情況下的一個環節。 另一方面，本研究以「中心╱邊陲」的後殖民思考架構，視「中國熱」現象為華語電影走向世界的過程中的四個階段－「重新被發現、新電影運動與西方中級影展、納入主流藝術電影院線、與好萊塢電影工業接軌」。同時，本研究也將進一步探討背後的文化意涵及其所代表的意義。 / Since late 1970s, the Western has gradually put more and more concentration on the Chinese films. The film reviews and the public opinions always regard the phenomenon as the “Chinese Cinema Fever”. This article, on the one hand, analyzes the phenomenon in the historical and cultural veins. While facing China, a state once made the western feel so distant and unfamiliar before, a kind of mentality in the “Western” has been molded by the cultural imagination, colonial experience, mysterious atmosphere, and realistic demand (such like strategic consideration and large-scale market, et al.), and displayed in the various fields. Meanwhile, the “Chinese Cinema Fever” is being a part in such complicated situation. On the other hand, the phenomenon, the Chinese Cinema Fever in the Western Film Festivals since late 1970s, will be considered under the framework of “Center-Periphery” and be regarded as a process of the Chinese film toward the world, which is composed of re-discovering, re-emphasizing, including into the mainstream in the system of the Art Theatre. Nowadays, the Chinese films have turned into a part of the worldwide culture and universal consumption. At the same time, I would like to go a step further to discuss the cultural meanings behind the appearance.

華語電影作為一種真實的教學材料，提供了自然的華語語言資源，並且能夠增強學習者動機與教學成效，然而過去關於此議題的論文研究大多缺乏實際教學驗證，故本篇論文的目的在於，針對中高級華語學習者，以華語電影進行教學設計，並進行教學實施，探究如何應用電影使學生提升聽說能力。本研究採用發展研究法以及調查研究法，結合理論探討與實際狀況分析，發展出符合本研究教學目標之課程設計。首先從兩大方面綜觀過去的研究，一為影片教學的相關理論，指出影片教學之立論與特色，並歸納影片應用於語言教學中的優勢，再探究其應用於教學中的設計理論與教學模式。第二部份則探究電影應用於華語教學上的成果，統整出教學特點、選擇電影的原則以及教學流程等重點。接著，基於以上研究基礎，以ARCS動機理論與ASSURE教學模式為本研究教學架構設計與實踐步驟之參考，設計電影教學課程與活動。課程實施後，以問卷與訪談方式調查課程實施成效、了解學習者的評估與反饋，並結合研究者自身觀察紀錄進行分析與討論。本研究教學實施普遍獲得學習者肯定，認為課程設計符合其學習興趣：學習口語詞彙與表達以及提升聽說能力，兼具實用性與趣味性。根據本研究教學實施，得出幾項研究成果：一、課程設計發展模式 二、教學目標訂定之依據 三、教學實施與驗證。最後，綜合討論成果，作為未來相關教學研究之參考與建議。 / The purpose of the study is to design and implement a Chinese Language curriculum with the use of Chinese films to high-intermediate level students, with the primary gaol of enhancing students’ listening and speaking skills whilist also increasing Chinese colloquial knowledge. The main method used in this paper is known as development research. It provides a model for instructional design; questionnaires and interview research are also adopted for gathering students’ reviews following the proposed teaching implementations. The emphasis of this study lies in examing the model for developing instructional design in teaching via Chinese films by implementing two teaching demonstrations and providing criteria for setting teaching objectives. The results of the two teaching implementations indicate that Chinese movies are valuable and practical teaching materials in spoken Chinese and it is important to incorporate the teaching activities in sequence into the class. Moreover, students’ enjoy the interesting and productive learning evironment. The study findings may serve as a reference for further research on relative Chinese teaching curriculum design.

Les premiers films chinois sont des documentaires de l’opéras traditionnels. Le langage cinématographique dans le cinéma chinois est née avec Tragédie de l’opium de 1916. L’industrie du cinéma a été fondée dans les années vingt avec la naissance de nombreux studios et avec une production débordante de long-métrage qui est très proche des films hollywoodiens. Le cinéma muet chinois est toujours présent dans les années trente. La mise en scène manifeste une conception cinématographique moderne en gardant la continuité de l’espace-temps. Dans l’utilisation du mouvement de caméra, SUN Yu garde une conception d’espace-temps rationaliste occidentale, tandis que FEI Mu respecte la fluidité d'image. Il y a trois styles principaux des cinéastes du muet : le "théâtre filmée", le modèle hollywoodien chinois et l’école de l’esthétique traditionnelle. La "tradition" du cinéma chinois n’est pas bien formée à l’époque du muet, pourtant elle est une tendance remarquable. Elle devient dans le début des années quarante avec le film parlant une conception générale de l’esthétique cinématographique qui est différente du cinéma d’autres pays. Elle se caractérise, par l’intégralité du plan avec l’utilisation fréquente du plan-séquence et le travelling continue. Cette esthétique cinématographique est influencée profondément par l’opéra traditionnel et la peinture chinoise, qui manifeste l’esprit de l’esthétique chinoise traditionnelle. La "tradition" du cinéma chinois se continue dans les films chinois d’aujourd’hui, pourtant, elle se trouve plutôt dans les films d’art. / The earliest film in China was the documentary of Chinese opera. It was the first time that the film language appeared in Victims of Opium of 1916. In the 1920s, the Chinese film industry came into being, building up many film studios and producing a quantity of Hollywood style feature films. The production of Chinese silent films had never stopped until the 1930s, when the concept of mise en scène had begun to pay attention to the continuity of time and space, showing the concept of modern film. As for the motion photography, the rational concepts of time and space in the West have been revealed in SUN Yu’s films while FEI Mu has created the implicit images by using motion photography. Thus, in the 1930s, there were three major types of film aesthetic tendencies: the dramatic films, Hollywood-style films and the films with Chinese traditional aesthetic tendency. In the silent era of films, the tradition had become the apparent aesthetic tendency in Chinese films, but it hadn’t developed into the mature film style. Not until the beginning of the 1940s of sound films had this tendency become a distinct national characteristic, which were keeping the integrity of single shot, frequently using le plan-séquence and ongoing motion photography. Chinese traditional opera and paintings have great influence on this film aesthetics, which shows Chinese traditional aesthetics revealed in the film art. The tradition in Chinese films has also been shown in today’s Chinese films; however, it is a style of the art film rather than the film aesthetics of those hot commercial films.