The significance of The Battle at Lake Changjin (Changjinhu, 2020) arguably lies in its shaping of a national aesthetic paradigm for Chinese blockbusters. This is mainly reflected in its creation of a panoramic film structure, constructing a solemn yet generous aesthetic style, forming the image of Chinese heroes, casting a consciousness between family and country, and rewriting historical justice through an aestheticized depiction. Behind the film’s latest success at the box office lies the enlightenment in Chinese blockbusters’ exploration of a national aesthetic paradigm: Chinese blockbusters need to firmly progress through this newly developed national-image aesthetic paradigm and continue exploring diverse aesthetic styles.
This paper is a phased research result of “The Research of the Development History and Peak of Literature and Art” (Grant number: 18ZD02), a major art project of the National Social Science Foundation of China in 2018.
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