A Study On The Bottom Narrative Of Nepali Films （1980-2017）

Nepali films always focus on the living conditions and life conditions of the bottom groups,forming a narrative mechanism that takes the living conditions of the bottom characters as the category.This article adopts the method of text analysis,to between 1980 and 2017,13 Nepal film analysis,to study the Nepali film is how to represent the underlying characters: concrete exploration of Nepal,expression of theme,the characters in the film the underlying narrative image narrative perspective,narrative structure,narrative time and space,the development of its underlying narrative literary creation.The research finds that the bottom narrative of Nepali films presents four types of character images: the rebel,the defender,the victim and the striver.The resistance shows the gentle and good tolerance under the individual narrative of free ethics and the upright and unyielding spirit under the grand narrative of people’s ethics.The stickler is the bottom line of the traditional master-slave ethical relationship and the value conflict in the social transformation period.The sufferer is either in the cycle of suffering,or unresolved,or can get rid of the fate of suffering,but the way to face the suffering is pointed to the bottom of the pure and tenacious;The striver image includes three types of farmers at the bottom,people at the edge of the city and unemployed youth.It tells three narrative themes: the emotional theme shows that the secular nature of love replaces the mythological nature of love,and family affection becomes the only constant comfort of the bottom group.The livelihood theme is the transformation of the livelihood mode of the bottom farmers: traditional agricultural farming,modern technology application and overseas work.The religious theme is a symbiotic relationship between religious belief and the bottom group.From the perspective of narrative strategy,the narrative perspective deepens the tragedy of the bottom with zero focus,and improves the audience’s sense of identity to the bottom characters with first-person internal focus.In narrative time,flashback narration is used to show the underlying memory and explain the behavior motivation of the underlying characters reasonably.In terms of narrative space,family space is used to describe the underlying situation,or the rough and narrow space of repression,or the warm space of emotional comfort,or the contradictory space of life.The narrative structure uses dramatic linear structure to highlight the underlying characteristics and dramatic paragraph structure to depict the underlying group images of people on the edge of the city.Throughout the period from 1980 to 2017,In terms of the creation of the underlying narrative,Nepali films have changed from facing the conflict of values of The Times to depicting the cruel image of survival,and now to briefly describing the problems of the underlying society and the complex depiction of human deception and suspicion,which is rooted in the creation of reality but without higher artistic refinement.Therefore,the underlying narrative creation of Nepali films should strike a balance between commerciality and reality and take care of reality.Return to the film creation tradition of human beauty and national cultural characteristics.