中文摘要：

不同于过去倾向于＂政治史观＂、＂艺术史观＂或者＂文化史观＂的史学范式,本文主要从传播史观出发,对中国电影的百年发展历程进行阐释,以媒介生态整体理论之视维来观照中国电影在不同历史发展阶段的特性与规律,强调将电影作为一种大众传播媒介与社会资源、外部环境之间的相辅相成、共进共演的互动关系,力图全景式地描绘中国电影120年来的传播生态图景。在此基础上,提出＂中国电影4.0＂这一概念,指出华莱坞电影新时代正在到来,并结合华莱坞电影的发展现状,提出＂文化中国＂的全球战略,在全球化语境中进一步构建华莱坞电影的主体意识,在日益多样化、多元化、多极化的世界电影格局中进一步勾勒华莱坞电影的未来版图。

英文摘要：

Different from historical paradigms of ＂ political historical viewpoint＂, ＂art historical viewpoint＂ or ＂cultural historical viewpoint＂ in the past, this article is mainly based on the communication historical viewpoint, presents an inter- pretation of Chinese movie＇s development process for more than a hundred years, scrutinizes characteristics and laws of Chinese movie in different historical stages according to media ecology theory, and emphasizes the interaction relationship among Chinese movies as a kind of mass media, social resources and the external environment. The purpose is to depict the ecological picture of Chinese movie and spread a panoramic view of the long history over 120 years. Therefore, this ar- ticle presents a concept of ＂Chinese movie 4.0＂, and points out that a new era of Huallywood movie is coming, proposing the global strategy of ＂cultural China＂ in terms of the current situation of the Huallywood movie. In the context of global- ization, Huallywood movie needs to make a further construction of the subject consciousness, and outlines the future landscape in the increasingly diversified, multi-polarization structure of the world movies.