2001年，中国电影市场开始复苏;此后，广电总局先后出台了相关法律，引导和扶持中国艺术电影进入主流电影市场。如何在主流政治体制和主流市场状况下保持导演的艺术追求，在不伤害导演艺术追求的前提下进行有效的主流化运作，开始成为每一个立足关注中国现实的导演所面对的新课题。作为第六代导演的代表，曾经为陈凯歌副导演的王超，自 2001年开始独立执导《安阳婴儿》取得巨大成功开始，先后创作了《日日夜夜》和 《江城夏日》三部影片，并于2007年开始主动自发地面对中国内地市场，创作 《可以重来》，本文通过王超电影的整个制作、运作过程来解构主流文艺电影的生存之路，归纳中国当下的主流文艺电影制作和生存的特点及发展趋势。

In 2001,China’s film industry started to recover.Since then,the State Administration of Radio, Film and Television has been enacting various regulations to guide and support China’s artistic films so that they may join the world mainstream.How to keep a director’s artistic aspiration in accordance with mainstream political system and mainstream market conditions? How to carry out mainstream marketing whilerespecting the director's artistic aspirations? These have become new issues that each down-to-earth Chinese director has to face.As a representative of the six-generation directors, Wang Chao, who once acted as Chen Kaige's assistant director and directed The Orphan Of Anyang independently, made another two films, namely, Days and Nights and Luxury Car. In 2007, he started to focus on the mainland market and created his Staring Over. In this thesis, the author will analyze how Wang Chao made and marketed his films and try to conclude the main features of the making and marketing of mainstream Chinese films their future developing direction.