The Modern Transformation Of Chinese Film Narrative Pattern Since The New Period

Since the new era, the transformation of film narrative mode has emerged in a particular historical period. In the pursuit of language modernization, film narrative mode has constantly sought a new breakthrough on many levels such as narrative time, space, vision and structural pattern. Innovation of artistic form and modenity has turned into the mainstream of the new era. In the new film narrative mode the transformation of forms of time and space intertwining, multi view narrative, limited point of sight and polyphonic structure has impacted on traditional single vision, linear narrative mode, which add vitality to artistic expression of Chinese films. However, this major turnabout has occurred under the circumstance of dual concept of tradition to modernity, east to west, form to meaning. If repondering historical origin between traditional shadowand modern narrative mode, we find that excessive emphasis on form without investigating hidden generative mechanism and worth appeal behind the form result in exploration misconceptions which narrative subject fall into art for art?s sake. This paper mainly researches what to narrate and how to narrate, and deeper matter of why this narration is achieved under the horizon of narratology theory by analyzing specific articles.The paper is divided into four parts. The first part concerns the transformation of film narrative mode with the tradition of shadow film, which include evolution of early traditonal narration mode and Xie Jin?s progressive exploration. My research point based on cogitating early narration mode observes their explorations such as Fei Mu, Chen Bugao and Liu Naou?s endeavor in this field. On this basis the author attempts to excavate its artistic value and theoretical sense exploration of the localization has generated in the early film narration conversion and objectively inspect Xie Jin?s endeavor in this field in the early new era. His endeavor is that progressive and accumulated artistic reform impel the gradual development of Chinese film nattation system and its modernization. The third part is about narrative rebellion: formal revolution and spatial innovation. In the discussion of "image" and "narrative", the structure of narrative space in classical narrative grammar and the comparative analysis of modern film narrative space are compared. The author found that space is no longer attachment to the plot, not only to shape the attitude to meet in the environment of the account, but to pursue movie character of the roots in such films as < one and eight >, < loess land >, < hunting Zagreb sprinkle >. "Composition" and "offscreen space consciousness rise marked a unique sense of the directors of the fifth generation of the image space, and image aesthetics pursuit is different in the early tradition of" shadow play "in the closed space consciousness, such as space" transparency "and the narrative of" transparency "to maintain a consistent, different, and the scene scheduling more consciously artistic practice in order to break through the closed narrative structure and expand the space of Chinese film space narrative performance space.The fourth part concerns focus on the ninety’s diversified narrative exploration. "New generation" director benefit from the narrative explorationof fifth generation directors. In Jia Zhangke, Wang Chao?s scene scheduling, the exploration of formal languages have consciously printed with their own life experience. Relationship between the characters of the image, characters walk and the camera’s movement pattern not only has the significance of time and space, but also the Bazin humanitarian care. Jiang Wen, Li Shaohong, Lou ye, Guan Hu, Wang Chuan and other filmmakers actively try different narrative forms such as modern film of the limited point of view and multi view narrative and first person subject autobiography, unreliable narrator, "polyphonic narration structure" to pour, so much so that the narration exploration in this period presents the characteristics of diversification.Overally the transformation of film narrative mode has occurred with the joint forces of traditional film narrative mode and foreign film concept. This transformation is mainly embodied in the forms of narration time, space and point and structure. Constant breakthrough in forms essentially reflect the bud of film noumenon consciousness which has born positive aesthetic meaning. But this concept and practice of formal revolution demand the reflection of academic community. In the historical process of inspecting the transformation of film narrative mode the author concludes the isolation and malpractice which modern narration mode prevailing discourse has brought. The author applauds the positive effect of narration form while pointing out more pondering of internal driving force of formal revolution, and further reflect narrow conception which the transformation is place in linear evolutionism. The author also expects the integration between western modernism aesthetic conception and Chinese local experience and national cultural mind.