Narrative Research Of Mabel Cheung’s Movies

Mabel Cheung is an outstanding director of Hong Kong art film. She has committed to shoot a movie in Hong Kong local feelings, the profound insights on life and the unique philosophy of life into their works into Consideration, insisted dramas in the end. Mabel Cheung Movies by little description of living conditions, reflects the social reality of Hong Kong. As a woman director Mabel Cheung especially for emotional expression, this expression is mainly reflected in the subtle romantic love, rich nostalgia and unbreakable cultural nostalgia and the like. Mabel Cheung works with the image bearing the history of Hong Kong, with a skillful film language to express the feelings of Hong Kong people, between the lens loaded her humanistic care, representing the Chinese film high achievement in terms of lyrical narrative.In narrative theory, film theory, feminist theory Perspective, Mabel Cheung film’s narrative from the narrative motif, narrative strategy and narrative style three aspects to explore. Mabel Cheung Motif film’s narrative and emotional survival of the state through the construction, to show the people of Hong Kong and chasing wandering rootless sense. Departure from narrative theory, the construction of narrative perspective by Mabel Cheung film, audiovisual policy and structural policies to achieve its interpretation of narrative strategy. Mabel Cheung child’s perspective and the perspective of women, through the expression of subjective and objective world situation is described, showing the romanticism of personal feelings. Director of the picture and sound use of our emotions into Mabel Cheung space. Nostalgic tone of the film aesthetic, poetic hazy ambiguous situations, open-ended narrative attitude embodies the film Mabel Cheung prose style. Real space mixed with personal feelings, realistic and impressionistic rendering of a double in the cinema of Mabel Cheung.Mabel Cheung narrative expression is through the narrative motif, narrative strategy and narrative style three aspects to achieve, and to dig its artistic content and the overall style of the film. Thus, on the one hand provide the experience of the Department for the Study of Chinese art films on the other hand to provide the necessary support for the theory of narrative experience of Chinese cinema.