Abstract:

The process of narrative development for the sixty years of the New China film, viewing from the perspective of national narratives and intersubjectivity, can be divided into three major periods, that is, the period of the "pure narrative of socialist reality", and the period of the "discourse narrative of extreme political power", and the period of the "new film narrative towards diversification and marketing. And the narrative evolution of the three periods shows that the resplendence and prosperity of the film narrative are inseparably related to the benign circulation of the dynamic balance and harmonious interaction between its subjectivity and intersubjectivity, among which, the subject of powerinstitution being representative of the national narrative level plays a "dominant" role both in the narrative innovation and pursuit of the subject of narrativecreation and in the amusement and feedback of the subject of acceptanceaudience. It is the key factor that establishes the overall outlook and leading mode of the film narrative in New China. 

Key words: the film in New China; national narratives; intersubjectivity