Poetics Of Ideal And The Aesthetic Tendency In The Chinese-language Films

The concept of Chinese-language film has been the focus of academic attention and a lot of academic achievements have been made in this field ever since it was firstly promoted in the 1990s. It links the Mainland films, Hong Kong films and Taiwan films together, integrates the films from these three different parts of China and forms a new way of thinking. Chinese-language films are films produced in Chinese language and in the Chinese way of thinking. Lu Xiaopeng defines this concept in a more extensive sense, he believes that Chinese-language film is a broad concept which covers the films produced in Chinese language from all over the world:in different regions and in different parts of China, in different overseas Chinese communities and in different countries. Although film is a technology product from the West, the way of thinking in the Chinese language determines the Chinese-language films the feature of the deep cultural ideas and values of the Chinese nation. Poetry, which is the mainstream of Chinese culture and the cornerstone of human civilization, forms the oldest ancient poetics of ideal. Therefore, it is a matter of course for the studies on the aesthetics of Chinese-language films to explore the tradition of "Ideal" in the films which is the central concept in the Chinese culture and which shapes the Chinese tradition of the officials. In the forms of Chinese-language films, the techniques used in the ancient Chinese poetry such as image, artistic conception, fu, bi, xing, juxtaposition, strengthening, arrangement and contrast are employed in the films to express what the directors want to convey in their films. In the subject matter of the Chinese-language films, the tradition of implicit irony and metaphor, educating people, reflecting the reality, criticism of current politics in the ancient Chinese poetry, which echoed in the tunnel of history the love, the hatred and the melancholy of the intellectuals, guarantees the dissemination of intellectuals, the expression of aspirations, and the moral tradition in the films and thus make the Chinese-language films distinctive ones in the world with the unique Chinese aesthetic features.From the early classical poetics to Modern Poetics and then to Garnished Poetics of ideal (postmodern poetics of ideal), the tendency and feature of poetics in the Chinese-language films have been changing with the times in connotation and denotation:classical poetics of ideal forecasts expectations of political discourse, repeats Civil War information; modern poetics deals with the deconstruction of the political myths, reflects the attitude of a new era of pain and joy in the period of 1990s. The contents of ideal have been changing with the time and the cognition of directors, however, many of the changes are just the evolution of the film forms, the changes on the surface, the changes of topics, the ideal is always the core value in Chinese-language films, which shows that the Chinese intellectuals wish to express their ideas, their concerns about the human spirits and their willingness to have influence on the society strength in the time of change and development. This wish, which can be found in the films shot in different styles and the films produced by directors of different generations, endows the images in the films with great values and meaningful contents.The paper carefully selected many excellent film texts, by choosing the films from the Mainland China, Taiwan and Hong Kong, this paper intends to analyze and explore the themes, narratives, shots and details of the films from the perspectives of history and culture. This paper sticks to the principle of combining text analysis with the theories, the principle of the combining synchronic attitudes with diachronic attitudes, the principle of the combining macroscopic overlook with microscopic reading and thus employs three methods, i.e. "parallel research", "comparative study" and "case study" to give an overall analysis and study on the Chinese-language films of the past one hundred years. In accordance with the development path of Chinese-language films, the paper focuses on four representative periods, whether it is the films of the 1930s and 1940s which are typical of the social and political changes or it is the films of the 1990s which are typical of the values of diversity, this paper places the films into the historical context of Chinese films and tries to analyze them from the poetics of ideal. This paper not only tries to restate the uniqueness and the central position of the poetics of ideal in Chinese poetics, but also interprets its influence upon the development of the Chinese-language films at different times. The Chinese-language films, under the influence of the poetics of ideal, sparkle the light of moralities and thus shine significantly among the films all over the world.