Abstract:

The current blockbusters in China, viewed from the perspective of cultural ecology or ecological criticism, is no doubt able to get a more popular values and a more effective way of speech. And it is based on the theoretical premises of film ecology and ecological criticism that the relations can be put forward between mainstream and nonmainstream, blockbusters and small films, and production and consumption of mainstream blockbusters, and that it is expected to, on the level of active adaptation, coordinated interaction and trying innovation, search for mainstream blockbusters the rationality of existence and the basis for moving forward. On the whole, it is necessary to, in the active adaptation and mutual transformation of mainstream films and nonmainstream films, construct gradually a fair, balanced ecofilm in China. If nonmainstream films are ignored or eliminated, mainstream films will lose their healthy body and innovative vigor. Under the background of pluralistic globalization, and in the context of unique Chinese films, domestic blockbusters imply a large number of complex motivations, specific processes and rich details. Both simple argument of rightandwrong and abstract judgment of values are not desirable. It is the inescapable responsibility and mission for blockbuster discourses to have a specific probe into their living condition and ecological status. Correspondingly, mainstream blockbusters are not only to link themselves to China' s overall cultural environment of films, but also to have a common dialogue and exchange between politicians, entrepreneurs, scholars, media and audience, in order to, based on all this, have an innovation in the production and consumption of China' s mainstream blockbusters and make the Chinese film onto an ecological, balanced road of healthy development.