一批無法或不願意進入中國主流電影場域的創作者，當國家只允許電影廠拍片時，他們選擇向西方獲取資源以獨立製片；當國家鼓勵商業電影推廣積極形象時，他們堅持寫實主義；當國家在防範網絡言論失去管控時，獨立電影在國內已經從線上、線下聚集了渴望另類表達的觀眾群。中國獨立電影的發展，並非創作者們英雄式的反抗，也不單純因國內社會轉型催生，而是一種行動者的主觀策略與客觀場域條件之間的互動結果。

This study analyzes changing patterns of Independent Film Making in China between 1990 and 2013. As China has followed a state capitalism model, her market economy is imbued with conservative aesthetics and politics. In consequence, alternative film-makers have so far taken three distinguishable practices. To begin with, in days when only in-house production was permitted and monopolized by the state studios, they solicited financial resources from overseas. As the state encourages independent movie production aiming at commercial gains, they instead opted for realism. In the latest, in spite of the state's tightening its grip upon the net, they have groomed on-line and off-line audience wishing to find alternative audio-visual expressions. It's concluded that, although these independent films run counter to the state ideology and imperatives of commercial entertainment, it’s inappropriate should they be extolled to the status of heroic resistances. Rather, they are necessarily played out by agent's strategies and practical conditions existing in the field.