| The thesis probes into individualization issue of the sixth generation of Chinese film from the aspects of subject, object, issue and choice.The first part is "subject: a generation of individualization"The sixth generation is a "basically finished" concept. The year of 2002 can be regarded as the last performance of this generation. The young directors are divided into three types. The first type inclines to express the ideology. They generally flee from ideology and the old life. The works of these directors are individual expression of ideology. The second type inclines to express the fashionable life, the new life and the commercialization. On the pursuit of style, their films adopt the expression of turning the pioneer's tactics into fashion and the tactics of turning the emotion experience to emotional consumption to cater the consumption demands of city white collar and the college students. The third type inclines to probe into the art. Their respect to the masters exceeds the desire expressed. The so-called innovation still remains at a low-level imitation stage. People can often see the shades of many masters in their films. These directors are different in characters, but they have the same narrative choice: individualizationThe operations of the sixth generation's films were mostly carried on outside the system at first. Raising money among the people, overseas financing, low cost, craft production were the main characteristics. From the objective point of view, most of the sixth generation directors come from the common people family. They met the depression of the movie making on their graduation and influenced by the 89 disturbance .All these factors made most of them fail to enter the heavy studio like the fifth generation. Some directors even had to "make film independently" after graduation. From the subjective point of view, freedom and edge are the pursuit of the pioneer artists of 1990s. Living in the same atmosphere with the modern artists and behavior artists, the six generation naturally tends to edge in spirit. The second part "object: individual art".The marginal, the wandering youth, mystery death, emotion of piece type appear in the six generation films. These video images form an unprecedented new page in Chinese film history. There are two kinds of expression ways of the sixth generation of film, i.e. reproducing the objective reality and displaying the subjective reality. As regards domestic films, the former has a blood relationship with the films of Hou Xiaoxian, while the latter has the same flavor with the films of Wang Jiawei. Seenfrom the international movie circles, the former is usually regarded as the Chinese edition of the Italian Neo-realism, while the latter has something to do with the French new tide, the contemporary Hollywood independent films. Of course, there's a great difference between the sixth generation, s record of actual events and the Italian Neo-realism. The Italian Neo-realism aims at changing the society, so it needs to reveal the truth and the sufferings of the society. The sixth generation aims at filing for one's own youth and the edge youth, so their works are the youth whisper. Because of the monologue in narrative and the individualism of the experience world, the "Suzhou River" becomes the typical text of individualization.The third part: "issue: to face a difficult choice behavior of individualization."Foundationally, the choice of the sixth generation in individualization makes them fall into a series of dilemma. First, on the issue of "emotion art or idea art", the sixth generation gradually hold calm attitude of looking on. It can diminish audience's emotion conflict of involving in. The natural flow similar to daily life becomes leading factors as a kind of style pursuit. Among the films displaying subjective reality, most films and most scenes just make audience confused and have no way of accepting them. It is only "immature text". Secondly on the issue of "folk or noble", the works of the sixth generation in the e... |
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