Study On The Aesthetic Changes Of The Chinese Mainstream Film Since The New Period

It has been more than 20 years since the watchword "highlighting the main theme, adhere to the diversification", which was firstly put forward by China's Film Bureau in February,1987 over the film period called New Period. The Chinese Mainstream Film has varied from a Chinese-style art of film-specific policy statement and the high thought requirement film which it should have into the creation concept of creative films, a corresponding film aesthetic form to the commercial film and art film. However, the mainstream film's development in recent years, faced with the market impeded, and faces its own difficulties and aesthetic discord from the mass consumption, which will ultimately affect the effective dissemination of the mainstream ideology. Zhao Shi, deputy director of the State Administration of Radio, stated that films that as long as reflecting the truth, goodness and beauty, belong to the main theme of the movie film, the main theme of the film is entering a new period of rapid development. The mainstream film is expected to achieve in the mould of traditional aesthetic theme of breaking stereotypes, but also the main theme of the film for the future development and bring new hope to leap.This paper is focused on how to create the mainstream film with Chinese characteristics, aesthetic system while China's domestic film studies are paying attention to its films and art films and commercial barriers to the development of their aesthetic impact since the New Period. We should make a clear distinction of criticism of the actual writing on the mainstream film now, based on the film market and film audiences. This thesis is trying to deal with the problems which the mainstream film for development has emerged to explore in depth a range of issues such as how to meet the creative thinking of modern film development and film language of true and profound reflect the life and reflect the reality; how can make the mainstream film loved by the people; how to deal with the problems arising in depth exploration of aesthetics in the process of film stereotyping; how to combine the mainstream film's mode with the diversity of aesthetic practice d and the needs of film audiences and so on.In the introduction part of this thesis, the thesis succinctly describes the background and purpose, and domestic scholars' research status of this issue, so as to foreground the importance and urgency of the topic. The thesis consists of four main parts. In Chapter Two, through the analysis of different levels of the mainstream film, and summarizes the theme of the mainstream film's concept and features, and comes to the main theme of the film's concept in this paper. The third chapter is the most important chapter, it discusses in detail the mainstream film's aesthetic changes, including subject matters, narrative skills, characterization, and audio-visual language and so on. It also summarizes the changes in the context of this sort, and future trends through specific analysis of the concrete films.In the fourth chapter, exemplifying typical mainstream film "Founding of the Republic" as the case study, trying to sketch out the new features of the aesthetic theme of the film from the creative aspects and operational aspects of the film which reflected the aesthetic characteristics of the analysis. As the aesthetic trends of the mainstream film, Chapter Five gives future prospects of the main stream film from commercial, national, regional and other aspects trying to come to China's future aesthetic mode.The Conclusion puts forward three principles -the major theme of the mainstream film in order to become the mainstay of the healthy development of Chinese film that aesthetic model must comply with.