近二十年两岸三地华语片文化状态比较

【作者】 杨曙；

【导师】 姚文放；

【作者基本信息】 扬州大学 ， 文艺学， 2010， 博士

【摘要】 “华语片”是指以内地、香港、台湾为主,并包括其他区域制作的的中文电影,这些中文电影以华人民众生活为题材,并体现中华民族审美精神。本文因论题所限,仅讨论构成华语片主体的内地、香港、台湾电影,其他区域华语电影不予讨论。“华语片”概念的提出,是“中国电影”本身词面概念为适应变幻多姿的经济、政治和学术全球一体化背景下所做的全新调整与自我定义。它使得电影人、观众和相关研究人员能在一个非常前瞻和广阔的视域中,来充分认识两岸三地华语电影当前的特点、发展态势及其未来发展的可能性,并充分把握经济与政治全球化背景下华语电影的总体发展态势。有利于强化人们对两岸三地间电影文化的沟通和认识,把握“一个中国”前提下所伴随多元化体制的确切含义和真实前景,并探索其前途。长期以来,华语电影研究侧重于资料的梳理和时间的描述,真正深入研讨美学规律的还并不多。本文是一次试图将电影的比较研究方法和原则应用到近二十年两岸三地华语片研究中的理论探讨。本文在方法论上,采用的是电影的比较研究中的三地地缘横向研究的方法,文化分析为主,文本分析为辅,文化分析与文本分析内外研究结合,进行广泛联系与逻辑推演的研究,重点探讨近二十年两岸三地华语片在地缘中所出现的美学差异,并在深入比较中力图阐发它们整体共同或各自独特的美学意义。通过多种批评方法综合比较华语片在当代审美文化思潮下的文化状态异同,对华语片近二十年的时代背景、身份文化、人文视角、娱乐立场、审美类型、哲学理念进行全面跟踪式透视比较,分析华语片发展过程中存在的文化状态与美学价值问题,以及一系列值得思考的电影现象,从原因揭示中发现艺术规律,从理论探究上归纳其创作意义,为华语片的振兴寻找艺术演进的规律,以期为当下和未来华语片的振兴提供理论支点与艺术坐标。第一章,时代背景比较。近二十年内地、香港、台湾的时代背景上具有共同点,又具有差异之处。三地共同面临全球化时代的挑战,全球化带来深刻和复杂的政治、经济、文化转型,作为媒介发达地区的美国通过媒介霸权把意识形态强加于不发达地区,三地华语电影接受全球化挑战时,与异质文化开展了对话,发掘自身的文化品格,在与好莱坞的对话与交流互动中实现“双赢”。三地面临的时代背景又相互有异:内地自上世纪90年代初开始,逐渐进行市场化改革,到如今电影业出现了良好生机;香港依托良好的商业化传统,消费文化在香港本土生活的各个层面展现出来,香港华语电影在良好的环境中得到蓬勃的发展;台湾华语电影的市场化改革失败,政府意图促使电影发展的辅导金政策反过来制约了电影的发展。第二章,身份文化比较。“身份”是人对于自我主体性、自身情感与外部世界协调确认的表征。身份焦虑则是人类精神层面的主体性失落的体验,三地电影在强调人类精神与物质、灵与肉层面主体性的统一时,所显露出来的身份在共性上是失落和无奈的,这是一种失根的身份困惑。而这些焦虑似乎又是存在着某些差异的,内地主要是在追寻独立人格的民族寓言中体现出焦虑,香港是在“九七大限”中产生对自身身份的焦虑,台湾则更多在统独之争与殖民经验中出现焦虑。三地电影人意识到现代焦虑对人的自然存在和理性存在的桎梏,对身份的追寻在三地一定意义上起到了拯救中国人自由与自觉活动的作用。内地在历史书写中追寻着身份,香港在九七前后的殖民身份模糊中与对中华文化的回归中寻找到身份,台湾在后现代新族群的文化解构中寻找身份。华语电影的民族性是华语电影身份中最值得审视的问题,也是华语电影身份的核心问题。当三地华语电影面对充满异质文化的全球化渗透时,民族性仍旧是其身份的核心。体现身份的三地电影要一步步走向世界,其所仰仗的成功秘诀既不是政治的,也不是艺术的,而是民族的。上世纪80年代以后的内地电影在身份表现上则很大程度对文革的内地身份经验以彻底否定,第五代关注个人的生命和价值,他们创造的个人常常是具有普遍意义的“个人”,是在历史中的个人,他们的影片常常是对历史和身份的一般思考。台湾电影探索民族性时,很大程度上体现的是对本土意识的肯定,对自我历史经验的肯定,他们着力从旧的经验和心理状态当中脱身,努力塑造新的身份经验。和内地对传统身份的彻底否定与台湾对传统身份的彻底肯定不同,香港的民族性更多体现了对传统身份和西化的兼容并包的态度。第三章,人文视角比较。人文关注是电影文化的一个重要方向,作为同时脱产于中华民族古老文化的三地电影,不论何朝何代,对人的关注始终是文化关注的重要主题。三地边缘人本身处在一个四处飘零的状态当中,这种环境是一种异质的现实生存的夹缝,从时间与空间,自我与他者的关系来看,被现代性所抛弃的边缘人物很难准确对自己进行定位,均体现出身份上的不确定性。“第六代”电影以非直接透露意识形态的纪实风格,提出在边缘人生中棘手的生存处境问题,边缘是很多第六代电影中重复出现、被导演们同构选择的一大母题。香港在政治和经济处于边缘位置,在这种边缘城市基础之上,具有历史负重感的香港导演则突出了香港的边缘化叙述,把目光注视着一个特殊的群体——边缘人。和香港较为接近,经济与政治的边缘化极容易引起台湾新族群心态的边缘化,边缘心态隐约地成为台湾电影中的后现代审美意识。三地人文导演们的风格虽然各异,但他们都关注平民。普通人生是他们表现的主体内容和塑造的主要对象,他们钟情于展现大众的思想和情感。受主流意识形态、市场认同与后现代反宏大叙事潮流的影响,内地第六代皈依日常生活,张扬小型叙事。香港新浪潮电影导演关注社会变动中各色人等的生存状况,“九七”之后,香港电影中的平民关怀意识进一步加强,港人在“前后九七时代”内心的感悟与惆怅更为细致。台湾新电影的平民关怀在很大程度上依赖于宏大叙事,因此在上世纪80、90年代三地电影中,台湾新电影很好地保持了思想性和电影美学的并重。三地影像中的异化民众呈现出自我迷失的状态,这是一种自我被遮蔽的非我状态,同时呈现自我失去控制、失去一种受理性或自觉意识支配的真实性。内地不少电影以娱乐、梦为本位来宣泄异化的情感,使之更接近人之为人的原初本性。香港自被殖民至回归以后,一直是经济高度发达的区域,但是在导演看来,异化充斥着城市的中产阶级和上流社会,社会关系的隔膜十分明显。台湾新族群电影丧失了人的主体性,突出自我怀疑,强调主体丧失,反对一切中心,包括反对一切权力中心、权威中心和自我中心。第四章,娱乐立场比较。娱乐是电影的共性,电影要力争与观众的心理吻合,满足观众娱乐的期待视野。上世纪80年代开始,内地由计划经济向着市场经济过渡,电影逐渐走上了商业化进程,票房成为衡量一部影片是否成功的重要指标之一。作为东方好莱坞的香港,电影是作为一种日常娱乐方式出现的,以电影为代表的文化心甘情愿地成为娱乐的附属物,游走于地方性(本土性)与全球性(跨国性)之间。台湾电影早期琼瑶片和武侠片的势头一过,娱乐电影工业一下子衰败了,新电影潮流及以后的不少台湾电影依然是带有没有商业意味的艺术片,不得观众的娱乐要求,近几年台湾电影商业重建并出现转机。文化研究强调种族、文化、阶级等问题之做法无非是“场域”内的争斗,而香港商业艺术电影则可抛射出其改变本身以艺术电影面貌出现的艺术电影作为“文艺场域”一部分的内在能动。作为文艺场域的艺术电影和商业电影也存在着明显的强弱之分,尽管艺术电影的含金量在某种程度上高于娱乐商业电影,但其失去大众注定了娱乐商业电影的在整个艺术电影文化资本中的强势。和内地、台湾相比,香港艺术传统不是非常强大,前港英政府长久的“不干涉”政策使得香港文化差异显著,带有强烈包容性的香港电影,作为文化资本在“文艺场域”内的能动性显得格外显著。在三地电影中,香港的娱乐本位观念要比内地和台湾强得多,而内地和台湾的“文以载道”和“教化”观念要比香港强,造成三地娱乐本位观念差异的根本原因在于当局政治与文艺的结合紧密度。近多年,内地和台湾的政治对各自文艺的干扰呈现弱化趋势,尤其内地经过改革开放,文艺政策逐渐放开,三地的交流日渐频繁,要真正实现三地电影的娱乐化共同繁荣,合拍片是一条非常好的出路。合拍片面对的观众是三地,因此在文化、政策、档期等方面的沟通显得格外重要,从长远来看,三地电影应该互补互利,积极探索出一条长期发展的双赢道路,需要一种放眼达观的远大目光,这是一个民族文化心理历史性变迁的过程,三地合拍一体化在某种意义上意味着不同意识形态之间日益增强的合作,三地电影要力争多元化、人类性和类型拓展的演变。第五章,审美类型比较。类型电影是电影工业追逐票房的产物,而通过程式化特点追逐票房又是观众心理认同的产物。华语类型电影经过漫长的发展历程,消费化倾向明显,容易形成批量化生产,内涵与风格、观念与叙事不停和观众的期待视野吻合,激发他们的集体无意识。近二十年,华语类型电影在消费主义的背景下发生着自觉的转变,通过类型转型或新建来提高票房,这是目前三地的特殊电影文化处境。不管是面向国际市场还是单面向华语市场,类型电影转型或新建是消费文化不断升温或者发展的结果,华语类型片的趋势就是要顾及大众的趣味、观念和宣泄情趣的需要。电影的市场化伴随着国际开放,华语类型电影的转型既满足了海内外观众的需要而挽救了票房,又投射了民众消费欲望。拍出来的电影如果要想被全球观众看,以此狂收票房,那么在内容上就必须符合全球大众的心理期待和审美角度。三地各有本身发展成熟的类型电影,内地的战争电影和香港的怀旧电影、香港的情色电影和内地、台湾的女性电影、台湾的乡土电影和内地的农村电影类型之间存在着一定的相似处,又存在一定的不同。三地华语电影不仅类型与类型之间存在着比较,就是相同类型,三地都出现不同的面目特色。作为香港和内地喜剧电影的代表,周星驰和冯小刚的喜剧电影就存在着很大的异同,台湾和内地的成长电影存在着异同,香港和内地的黑社会电影也存在着异同。比较三地的类型,有助于三地在未来的华语电影探索上取长补短,资源互补,共创高峰,更好地发挥艺术精神和商业图谋。第六章,哲学理念比较。观众欣赏电影时候,电影有没有一定的哲学内涵是很关键的,因为观众总是有自己的期待视野,人们借助电影的叙事元素来咀嚼着其中的哲理内蕴,优秀的华语电影总要符合中国人的哲学理念。中华传统哲学的理念也渗透到近二十年的华语电影中,三地的华语电影都受儒道佛哲学理念的影响,同时又表现出一定的差异。内地对传统哲学抱着批判与继承并存的态度,香港则是中西哲学交融下来显示其特有的城市影像,台湾则依靠其良好的国学传统完美地在电影中表现了传统哲学。近二十年,三地华语电影除保持中国传统的民族的儒佛道传统外,还出现了强大的现代哲学思潮。不管是内地、香港还是台湾,不少导演在表现存在主义时候充满了愤怒与悲痛交织的复杂感受,意欲抨击人的精神生存状况但又无能为力的虚无心情。同时,人们为了生存,只能去适应这个环境,其中蕴含着荒诞精神的哲学就被挖掘出来,解构也是华语电影文化领域的一种哲学思维。自上世纪90年代开始,改革开放使内地的政治、经济、文化处于一个精神开放的时代,呈现出极其宽容的社会生存空间,现代哲学给予的理论空间是开放和自由的,第六代在这个时代唱起主角。香港来源于良好的商业环境,在电影中充分应用互文性技巧,互文性是香港类型电影发达的重要密码,互文是后现代文本中能指的不确定性和意义的嬉戏,是原始文本意义播撒于新的文本中,利润的追求促使香港反复使用互文性,同时超越旧的审美范式,使自身电影除了在量的方面增加,质的方面也得到突破。台湾民众因对当地政府无能不满,在电影上流露的情绪是心灵萎缩的表达,它带有很强的非理性的消解作用,新族群电影中所体现的情绪大多是悲观和迷茫的,而这种后现代的体验又将写实手法嵌入,进行沉闷枯燥地表现。结语,展望未来三地华语片在世界电影中的发展。在全球化的双刃剑下,好莱坞对诸多国家,特别是第三世界国家在经济上进行资本垄断、在社会和文化上进行“西化”的渗透,移植西方的生活模式和文化习俗,从而弱化和瓦解当地居民的民族意识。面临好莱坞,日、韩、泰、印度和伊朗电影进行改革并崛起,形成各自的营销方式。他国的国际市场经验对华语电影的制片是有着很重要的借鉴和启发意义的,对于华语电影本身融入全球化,抵抗好莱坞有着很大的帮助。三地华语电影可以采取共同的发展策略:挖掘民族符号,构造全球式普遍情感;注重审美现代性的反思,关注全人类主题;建设良好的国际营销策略。具体到三地各自情况上面,由于三地1949年以后又有不同的政治环境和电影实践历程,所以三地在未来的发展又有自身独特的策略。对于内地来说,内地在当前电影市场化改革良好的趋势下,最需要做的是继续深化一系列体制性的变革和创新,近二十年电影市场化改革的成功,说明电影产业若要发展,必然依据市场,市场的实质是优胜劣汰,作为竞争力核心的电影产品必须承受这个经验。香港电影需要做的即是大力提高影片质量,必须坚决反对重量不重质和粗制滥造的生产状况,电影界要大力培养优秀制片人,大幅度提高电影的剧本创作,让国际电影界重新来重视香港电影,促使港片夺回原先的东南亚市场并开拓新的海外市场。台湾需要改革辅导金制度,电影政策必须以市场价值为标准,单依靠辅导金养着艺术片很难让台湾电影在未来收回票房,作为产品的电影概念必须被很准确定位。更多还原

【Abstract】 Chinese language film mainly includs mainland film、Hongkong film and Taiwan film. Also include the other region Chinese film.These films’topic mainly with Chinese people people life, content the Chinese nation esthetics spirit. Because of theory limit,this text only discuss mainland, Hong Kong and Taiwan films and not discuss other places’Chinese language films.Put forward the concept of Chinese language film is China film phrase concept for orientation change of economy, politics and academic world background do of all new adjust and ego definition. It make the film person, audience related researchers can be in a forward-lookingly area to come full understanding cross-straits three regions Chinese language film characteristics,development situation,the possibility of future development of current and combine total development situation of full confidence economy and political globalization.It can enhance communication and understanding of three regions. Confidence"one China" slice meaning , true foreground of diversification system and investigate its prospect.For long time, the Chinese language film research lay particular emphasis on sorting data and description of time , real thorough study and discuss return of esthetics regulation combine is not enough. This thesis is theories practice of trying comparison research method and principle study to neraly 20 years three places research.On the methodology, adoption of three grounds of research with horizontal of comparison. Culture analysis is lord, text origin analysis in order to assist ,culture analysis and text origin analysis inside combine outside, carry on extensive contaction and logic push, point study neraly 20 years three regions of Chinese language films esthetics difference in the ground. Combine in thoroughly the comparison the whole common or respectively special esthetics meaning. To the ages background, identity culture, humanities angle of view , amusement position,esthetics type, philosophy principle to carry on overall comparison of neraly 20 years chinese language films. Analysis the cultural existence appearance and esthetics value problem of Chinese language film development process,and a series film phenomenon worthy of considering, announce art regulation from reason , induce its creations meaning from the theories investigation, to look for an art regulation for Chinese language film development, to provide theories fulcrum and art mark for the future of development of Chinese language film.Chapter 1, ages background comparison. The ages background of the neraly 20 years mainland, Hong Kong, Taiwan Chinese language film have common and difference. Three regions have challenges of globalization.The globalization bring deep transformation of politics, economy, culture. United States force upon the consciousness to the not flourishing region by medium hegemony. Three grounds Chinese language film accept challenge of globalization , open an exhibition dialogue with differences culture, discover the cultural character of oneself.Realize "the double win"in the dialogue with the Hollywood and the exchanges interaction. The ages background that three grounds face has a difference, From the beginning 90’s of last century, for successive years carry on a market reform, the film industry appeared good source of vitality to now. Hong Kong rely on a good commercial tradition, consume culture come out in Hong Kong life of each level. The Hong Kong Chinese language film get a booming development in the good environment. Taiwan Chinese language film market reform fail, Government gold policy intention to urge development of turning over a check and supervision development of films.Chapter 2, identity culture comparison. "Identity" is people ego, emotion token to moderate the exterior world. Identity worry anxiously is experience of mankind spirit level lose. Three regions film emphasize mankind’s spirit and material, Soul and body level work properly, rear the identity is lose with helpless. This is a kind of identity perplexity which lose a root. But these worry anxiouslies seem to be again existent some difference.Mainland mainly appear worry anxiously from independence the body of race parable. Hong Kong create identity worry anxiously in"97 big limit". Taiwan be more to appear worry anxiously in unify/independence issue with colonize experience. Three regions person aware a modern worry anxiously fetter nature existence and non- reasonableness of person. Look for identity rescue three regions essence of the freedom and activity in certain meaning. The mianland research identity in the history write. Hong Kong look for identity in 97 colonize faintness identity and China culture return, Taiwan look for a new ethnicity identity in post modern cultural solution. The race of Chinese language films is the most worthy of problem in the identity. It is also the core problem of identity of the Chinese language films. When three regions Chinese language film face differences cultural of globalization. The race is the core of its identity. Three regions Chinese language film want go to world step by step. It rely on of success secret since isn’t politics, isn’t art, but is race. Last later 80’s century of the mainland films perform negation identity experience to Cultural Revolution. The fifth generation concern personal life and value, Their creation usually is have widespread meaning of"personal",be in the history of personal, Their films usually have thinking of the history and the identity. When Taiwan films investigate race, perform consciousness of affirmation at very great degree, the affirmation of ego history experience.They put forth effort in the middle get away from old experience and the mental state appearance, make effort to build new identity experience. Different from mainland identity thoroughly negation and Taiwan thoroughly affirmation, The race of Hong Kong more body attitude of pack tradition identity and the west culture.Chapter 3, humanities angle of view comparison. The humanities concern is a movie culture of an importance direction.Three regiongs films come from Chinese nation culture. Whatever time, pay attention to person always being a cultural concern topic. Three regions film is placed in float zero.This kind of environment is the clip of reality existence.From the relationship of time and space, ego and others, for abandon of the modernity, the edge person have difficult of fixing position, all appear the indetermination of identity. The sixth generation film with solid style not- direct reveal of consciousness, put forward tough existence circumstances a problem in the edge life, The edge repeated emergence in the the sixth generation. All directors together choose the topic. Hong Kong’s politics and economy is placed in edge position, At this kind of foundation of edge city, Hong Kong director have history negative heavy feeling outstand its edge of describe,look at a special community of visions——the edge person. More close with Hong Kong, The edge of economy and politics turn very easy cause Taiwan mindset to the edge. The edge mindset become atrophy modern esthetics consciousness. Although style of three regions’humanities director have difference, they all concern civilian.Common life is the main object of performance . They fall in love the public at the display of thought and emotion. Influence by main current consciousness, market approbation and post modern anti-great recount current. The six generation of mainland convert to daily life, promote small scaled recount. Hong Kong new wave tide film director concern all kinds of people of existence condition in society change medium. After "97", civilian concern consciousness within Hong Kong film further strengthen. Hong Kong person meticulous at the feeling of "in front and back 97 ageses" . Taiwan new films of civilian concern to a large extent dependence in great recount. Therefore in the last century 8090’s, The Taiwan new films nicely kept lay equal stress on of thought and film esthetics. Three regions people present to enchant, this isn’t cover own appearance, the ego be out of control, lose a kind of the reliability and consciousness domination. A few mainland films take amusement, dream as basis to carry on the emotion which drain alienation and make it more close to the behavior of original beginning man’s natural character. From colonize to return ,Hong Kong have been economy height flourishing district.In director’s eyes, The alienation is full of the middle class and upper-class society of city. Society relation of diaphragm very obvious. The Taiwan new ethnicity film lost the person’s corpus, outstanding ego doubt, emphasize corpus to lose, objection whole center, include the objection whole power center, authority center and selfishness.Chapter 4, amusement position comparison. The amusement is the total characteristics of the film.The film work hard to fit together with the mental state of the audience and satisfy audience amusement of expectation visual field. From last century 80’s , mainland go to the market economy from planned economy, The film walk to commercial progress gradually. The receipt of a film become measuring a film whether one of the successful importance index signs. Be Hong Kong is the east Hollywood. The film is a kind of daily amusement, film is willingly to become adjunct of amusement, move around in loca(lNative) with global(multinational). After period of film in Taiwan is Qiongyao film and knight errant film. The amusement film industry declined, New film current and later film still is the very strong art slice which have not business meaning and can not meet audience amusement request.The last few years reconstruction in Taiwan film business also appear a turning point. The cultural research emphasize the way of doing of problems, such as race, culture and rank...etc. nothing but inside" field area" of fight. But commercial art film in Hong Kong can then throw to project a part of inside ability move in "art field area". Be art field art film and business film of the area also existence obvious of strong or weak, Though the content of art film is higher than amusement business movie at a certain degree, it lost the public,so amusement business film is of pre-eminent cultural capital. Compared with mainland, Taiwan, Hong Kong art tradition isn’t very strong.The England government long last"hands-off" policy make Hong Kong cultural difference. Hong Kong film have mightiness forgive. Be a cultural capital seem to be particularly in"art field area". In three regions films, amusement of Hong Kong is more stronger than mainland and Taiwan, But the "text with carry truth " and" education " idea of mainland and Taiwan is stronger than Hong Kong. Result difference in three regions of amusement lie in politics and art of combinatuion.In lastest several years, mainland and Taiwan rightness weaken respectively the interference of political to literature, particularly the mainland through reform open, literature policy gradual release, three regions exchanges gradual multifarious. Want a real common prosperity of realization three regions. Make a film together is a very nice way.The audience from three regions.Therefore the communication in the culture, policy, schedule...etc. all seem to be particularly importance. From take the long view, Three regions film should repair with each other benefit. Aggressive investigate is a long term development double win road,demand a kind of the great vision. This is a race cultural mental state of the process of the historic change. Three regions make film together means dissimilarity consciousness cooperation strengthen day by day. Three regions films work hard to turn into a diversification, mankind and type expand.Chapter 5,esthetics type comparison. The type film is the outcome that the film industry pursue a receipt. But the outcome turned a characteristics to pursue a receipt of a film through a program and been an audience mental state approbation. Through Chinese language type film endless development process, consume incline is obvious,it is easy turn to quantity produce, content and style, idea and recount fit together with audience expectation, stir up their collective unconscious.Neraly 20 years, Chinese language type film have change in consume background, Pass a transformation type or set up new type to make an exaltation receipt of a film. This is special current film cultural circumstances of three regions. Ignore face to an international market or Chinese market, Type film transformation or new set up is the result of development of consume . Chinese language film trend is want to regard for the public interest, idea and drain interesting aspect. The market of film turn a chaperonage with internation. The transformation of Chinese language type film meet the world audience demand and increace receipt, projected people consume desire. If The film clapped out want to quilt a world audience to see, with this crazy accept a receipt of a film, So the contents have to match mental state expectation and esthetics angle of world public. Three regions each have its mature type. The war film of the mainland and the nostalgia film of Hong Kong,pink film of Hong Kong and female film of mainland Taiwan, The hometown film of Taiwan and village film of mainland type,these films have common and difference. Three regions Chinese language films not only existent comparison of the type and type.For same type, three regions films have special features. Be the representative of Hong Kong and mainland comedy film, comedy films of Zhouxingchi and Fengxiaogang have big difference and common. The growth film of Taiwan and mainland film existent difference and common. The underworld film of Hong Kong and mainland also existent difference and common.Compare three regions films, contribute to long repair short of three regions to take in investigating future, help each other with resources,create high peak together, betterly exertive art spirit and business scheme.Chapter 6, philosophy principle comparison. When the audience appreciate film, certain philosophy content is a key to films. Because the audience always have own expectation visual field.People ask for the philosophy among film recount. The excellent Chinese film is total to want accord to a philosophy principle. The principle of China tradition philosophy also seep through the neraly 20 years Chinese films. Three regions Chinese language films all subjected by Confucianism, Buddhism and Taoism, again performe certain of difference in the meantime. Mainland keep both of attitude to tradition philosophy. Hong Kong is a manifestate special city image in tradition and west philosophy. Taiwan then performent tradition philosophy by its good Chinese studies.Neraly 20 years, in addition to three regions films keep Chinese tradition of Confucianism, Buddhism and Taoism, still appeared strong modern philosophy. Ignore mainland, Hong Kong and Taiwan,when many directors perform existentialism, they are full of to painfully sad and complications feeling. They intend to attack the person’s spirit existence condition . In the meantime, people are for the sake of the existence,they can go to orientation this environment, fantastic spirit philosophy contained among them is come out, Deconstruction also is a kind of philosophy thinking of Chinese language films cultural. From last 90’s century, The reform make mainland of politics, economy, the culture be placed in a spirit open ages. It present a very society for tolerate existence space. The theories space that modern philosophy give is open and freedom, The six generation start to sing leading role in this ages. Hong Kong come from good business environment,use interaction text technique in the film application.Interaction text technique is the flourishing importance password of the Hong Kong type film. Interaction text technique is ability of indetermination and meaning of frolic in post modern text,be originality text meaning sow in new text. The profits pursue to urge Hong Kong usage interaction text technique again and again. Surmount old esthetics rule in the meantime, in addition to the increment of the quantity, the aspect of quality is also break. Because Taiwan people is incapable disaffection to the government, The motion shown on the film is a mind to pessimism. But this kind of film imbed realistic skill to post modern experience,carry on depressed lifelessly performance.Conclusion, future of outlook development of three regions Chinese language film. The double that is in the globalization, Hollywood to many nation, especially the three world ,carry on capital break on the economy, carry on permeate of"the west turn" on society and culture, transplant west of life mode and cultural custom, thus weaken the residents’ race consciousness. Face to Hollywood,Japan, Korea ,Tai, India and Iran movie carry on reform and rising and formate marketing way respectively. International market experience of the other countries to the film producer is to have very important draw lessons to the Chinese films to integrate globalization and resist the Hollywood. Three regions Chinese films can adopt common development strategy, scoop out race sign, structure world widespread emotion,pay attention to esthetics of modernity, concern whole mankind’s topic,construct good international marketing strategy.Concrete to three regions, because three regions have dissimilarity of political environment and film practice process after 1949, so three regions have special strategy in the future development. To the mainland, mainland turn reform good trend in the current film market, most what demand do is to continue deep turn a series of system change and innovation. The neraly 20 years film market turn reform of success, if film industry want to develop, inevitable according to the market, Substantial of market of is that the championship is inferior to discard, being the film product of competition ability has to bear this experience. Hong Kong film demand do is strongly an exaltation film quality, have to resolute objection work carelessly of produce condition quality. The filmdom want strongly develop an excellent film producer person, significant exaltation the manuscript of the film creations,let the international filmdom come to the value Hong Kong film, urge Hongkong films take back the Southeast Asia market and expand new of overseas market. Taiwan demand reform guidance gold system, film policy have to standard with market value, Depend on art films can hardly let Taiwan film take back a receipt in the future. Being the film concept of product have to be fixed accurate.更多还原