Relevance of the Research:
Chinese cinema stands out as a vibrant and distinctive cultural phenomenon on the global stage, encompassing historical, aesthetic, and philosophical dimensions. Emerging in the early 20th century under the influence of Western culture, it swiftly acquired a unique national character, subsequently shaping world cinematography. In the 21st century, amid the impressive growth of the Chinese economy, the rapid commercialization of Chinese cinema has propelled it onto the international stage. However, despite global acclaim for its achievements, the artistic community grapples with challenges linked to the quest for national identity within the modern, globalized cultural landscape.
The adoption of Western film production technologies and evolving social conditions, marked by the rapid development of urban centers and consumer
culture in the People's Republic of China, has contributed to a discernible trend toward unfortunate homogeneity in film culture. The discursive crisis evident in certain Chinese films remains a topic of contention within academic and professional circles.
A potential resolution to this predicament lies in preserving cinema's ties with traditional Chinese culture, particularly its connection to performing arts. Chinese filmmakers historically turned to popular and professional national theater, rooted in specific mental attitudes, as a means to sidestep the clichés and stereotypes of Western cinema. The effectiveness of integrating traditional Chinese imagery, rooted in the country's history and culture, and embodying the spiritual values of Confucianism, Taoism, and Buddhism into 21st-century film language is evidenced by some contemporary projects. As societal realities continue to evolve amidst further digitization and universalization of culture, the enduring relevance of age-old rules of life transmitted through art becomes apparent. Therefore, cinema that successfully reinterprets traditional plots and themes central to China's national culture holds the key to satisfying the spiritual needs of the modern Chinese audience.
In light of this, a scientific examination of the influence of Chinese stage art on the evolution of national cinema becomes exceptionally pertinent. Beyond documenting instances of theatrical techniques and methods borrowed in film production, a critical aspect involves exploring mechanisms for transmitting national spiritual values originally embedded in traditional Chinese theater. The Chinese feature film, which initially captured Peking opera and other stage forms and later assumed diverse functions of theatrical art, remains a rich subject for research.
