主旋律電影的核心特征是引揚主導意識形態.。主旋律槪念的核心是堅 持社會主義制度、以中國共産黨爲領導核心、這些形成了社會主義核心價値 體系. 后來又加入了繼承民族優秀傳統,倡導愛國主義精神、學習一切優秀文 化等內容, 形成社會的主導意識形態。 本論文認爲中國主旋律影片的大片化現像分析, 通過國家意識形態和商 業的側面。論文先分析主旋律電影和商業電影的發展情況和前景。而且, 中 國主旋律影片的大片化現像分析。主旋律電影經過九十年代到現在,經歷了 很多變化。最近隨着商業影片的發展, 主旋律電影開始接收了多樣的題材和 方式。通過這些硏究分析下商業影片和主旋律電影結合發生的中國式大片。 其中, 主要硏究分析內容是中國式大片里面的國家意識形態特徵, 指向点和 電影産業側面的成功要因。 第三章分析了中國主旋律大片中國家意識形態。先分析了武俠影片中國 家意識形態, 然後分析了戰爭、災難影片中國家意識形態, 戰爭、災難影片 中以馮小剛的兩片中國式大片<集結號, 2007>和<唐山大地震, 2010>爲中 心。最後分析了獻禮影片中國家意識形態。的加入類型化和商業化。以獻禮 影片是紀念中華人民共和國60周年和中國共産黨創建90周年的主旋律獻禮電 影爲中心分析。而且, 分析了中國主旋律大片的商業的側面上比較成功的票 房結果要因。

The trend of “Blockbuster Exhibitions” over the past decade has led to the unfortunate reality that museums, losing sight of their role as an Academic organization, are becoming increasingly influenced by the corporate world. In my dissertation entitled “The Commercialization of Blockbuster Exhibitions in Museums,” I explore the modern tendency toward Blockbuster exhibitions in art museums and the negative impact of those exhibitions on the art world. Museums of the modern day have expanded their territory from the traditional venue of public education to the hybrid cultural space. This mission, evident in the museum’s attempt to satisfy audiences with the offering of diverse activities, has changed the concept of the museum, giving priority to the desire for financial gain. From the viewpoint of this new museology, the museum considers Blockbuster exhibitions as the safest method to increase ticket sales. As a program that openly reveals the commercialism of the museum, I explore the Blockbuster show and its strategies as a means of exposing the influence of the corporate world on art. A key component to the Blockbuster exhibition is the “hype” that is created to attract an audience. This devotion to increased publicity distracts from what should be the goal of public education, as the primary focus leans towards the desire for a large number of visitors. Consequently, this unavoidably standardized exhibition is presented to the public in a manner that deprives the audience of a unique experience. With large crowds and increased ticket prices, it is difficult to form a genuine appreciation of the artwork. In addition to the profit gained by increased ticket prices and the commercial sales of “souvenirs” from the museum gift shop, Blockbuster shows are used as a means to attract the attention of corporate sponsors. As explained in my dissertation, the importance that the museum places on corporate sponsorship as a capital resource is evident, however the degree to which the museum allows itself to be influenced by the desire for capital gain poses a threat to its function as an academic organization. Circumstances in American museum history, in particular, have influenced the transition from academic resource to corporation within museology. In keeping with the nation’s tendency towards capitalism, art museums in the United States were initially established and developed by individual capitalists who applied principals of corporate operation to museum management. As a result, in modern days, We witness the influence of enterprise on museum programs. while corporate management may be able to guarantee immediate fiscal benefits, however, it is unable insure the future of the museum. In sum, my dissertation discusses the mechanism of the commercialized “Blockbuster Exhibition” and the impact that it has on the future of the museum as an industry. This research provides an opportunity to reconsider the role of the museum as an academic institution, particularly in regard to the need to decrease the capitalization of exhibitions and refocus their influence on the art world as an educational resource.