摘要：

在过去的几年中，对于本土电影和跨国电影含义的界定，不论是在理论角度还是在规范角度方面，讨论都很激烈。尽管成果富有成效，但对于中国电影导演的作品在这方面的研究却很少。本文旨在从张艺谋的电影《山楂树之恋》和《金陵十三钗》来分析本土电影和跨国电影的异同，并从这个角度研究一下这两部影片属于本土电影还是跨国电影。为了能够更加全面的分析问题，一方面，本篇论文将包含电影的投资，营销，制作分析；另一方面，又会包含对中国电影反复出现的三种惯例的文本分析。

关键词：本土电影；跨过电影；中国本土电影；张艺谋

Abstract:

In the past few years, lively debates between the concept of national cinema and transnational cinema on both a theoretical level and a normative level are numerous. While the debates have been productive, there is an observable absence of researching the debate with a focus on Chinese auteurs. The aim of the paper is to analyze similarities and differences on the national cinema and transnational cinema  from Zhang Yimou's most recent films Under the Hawthorn Tree (2010) and The Flowers of War (2011) and to answer the question of whether these two films are national cinema or transnational cinema. In order to answer the question in a comprehensive way, this thesis includes contextual analyses (the aspects of financing, distribution and production of the films) on the one hand, and textual analyses with reference to three recurring practices of Chinese cinema on the other.

Key words:national cinema; transnational cinema; Chinese national cinema; Zhang Yimou

1. Introduction
There has been vivid and productive debate between the concept of national cinema and transnational cinema, however, there is an observable absence in English-language study of researching the debate with a focus on a specific Chinese auteur. Thus the purpose of the thesis is to answer the question of whether the Chinese director Zhang Yimou’s latest films Under the Hawthorn Tree (2010) and The Flowers of War (2011) are better understood as national cinema or transnational cinema. There are mainly three parts in the thesis. In the first part, the concept of national cinema will be introduced in order to decide the methods and criteria which is used to analyze the films. Since the concept of national cinema is not universally-agreed, it is important to understand the notion comprehensively and decide which line of understanding is adopted in this paper. The second part will discuss if the films are national or transnational with respect to the three contextual aspects of the movies, that is, financing, distribution and production. In the third part, three recurring practices in Chinese cinema: the image of Chinese masculinities, the Chinese operatic mode and aesthetics, and the frequent thematic concerns will be analyzed, and then consider whether these distinctively Chinese characteristics are utilized by Zhang Yimou in the film texts of Under the Hawthorn Tree (2010) and The Flowers of War (2011). Ideally, if the three contextual aspects are largely national and the film texts contain the three usual film features, the two films could be described as national cinema. Otherwise, the films could be considered as transnational cinema.