Clutch Of Chinese Film Narrative Structure

Form and style investigation is continuously a weak link in china movie study. In the enlightenment of David Bordwell's study on the narrative mode of Hollywood classical films, after I did my best to inspect all the Chinese films in one hundred years completely, I have found that part and reunion as a narrative structure mode with deep cultural tradition accumulation has been not only given great influence but also received many spectator's welcome. This part and reunion narrative structure mode has affected Chinese film directors' writing thinking profoundly and has been a deep narrative structure with prototype color.The art form of part and reunion narrative structure of Chinese film has some special characteristics as follows:The story time of these films is far longer than their projecting time. Their narrative motive power comes from time's flowing away naturally or history's fluctuation, not from personal desire. The narrative time of these films seems whole and round.The story space of these films is sturdy, their shot space rejects sewing in each other usually. The narrative space of these films has some symbolic meaning. Their space-time framework shows point and point joining together or beginning and end circling.The role or plot's setup of these films especially trends positive and negative contrast or main and minor reliance. These films also like using one concrete idea pierce through the entire plot.Omniscient narration and the narrator's presence also make part and reunion narrative structure particularly in favor of the subject of creation to express his thought and emotion.The special art form of part and reunion narrative structure leads to special art style: these films' narration has one kind of anfractuous and strange interest nature; these films are strongly lyric generally; seeing that these films always strive to notify life, society or history panoramic, on one hand, they construct certain appreciate beauty realm of sadness and happiness mingling, on the other hand, some philosophical thought in regard to life or destiny also infiltrate into them.Part and reunion as a narrative structure of Chinese film has close relationship with the socio-cultural contexts, Movie media's mass communication attribute and cultural attribute also cause the deep narrative structure have great influence. Those stories about the vicissitudes of life in China movies stem from China social reality in fact. If we tempt to investigate the source of part and reunion narrative structure, China traditional space-time consciousness and thinking mode must be considered. Prosperous China traditional family doctrine is another important factor. Chinese film's audiences love the stories about the vicissitudes of life deeply, which is also a critical reason of the part and reunion narrative structure existing in Chinese film.Of course, part and reunion narrative structure is absolutely not a still and fixed model in Chinese films, it is a movable and evolutionary process. Before the People's Republic of China establishing, if Chinese films told about those vicissitudes of life, they mostly followed the melodrama modality: narrate with cycle time; set up good and evil clearly roles; obdurate the plot. From PRC establishing to the initial stage of 1980, although part and reunion narrative structure didn't basically escape from the melodrama modality, it had showed a new facial feature through the history infiltrating the movies' narration strongly and the parting behaved in the recalling. Since 1980, splashes perspective and breaking obturated plot make this part and reunion narrative structure full of fresh original creativity.Here, one important thing is necessary to be pointed out, which is the part and reunion narrative structure none too include all the china movies. In one hundred years, China movie's narrative mode isn't single. But comparing to those diverse narrative modes of foreign movies, China movie's narrative patterns still show a little insufficient. This is a big obstruction when China movie wants to take a step forward. On one hand, we should see that part and reunion narrative structure is particularly able to show Chinese people's potential thinking mode and their understanding mode in regard to the world and life. It has had huge vitality and magic power not only in the past but also in the future. On the other hand, Chinese film must adequately learn to absorb foreign movies' narrative wisdom and raise its absorbing ability for the whole foreign film culture. Then china movie may really run to the world.