Research On The Artistic Conception Of Chinese Films From The Perspective Of Narratology

This articleconducts intensive research on the inner-landscapeof Chinese film, from the narratology perspective. The inner-landscape is an important aesthetic aspire of Chinese film, which is the Chinese filmmakers’ final goal. This article uses the analytical methodology of narration perspective, plot structure and narration control to analyze the cause of inner-landscape formation.The first chapter focuses the core of the inner-landscape theory, from the narratology perspective on the basis of aesthetics, while at the same time, summarizes the Chinese classical inner-landscape aesthetics. This article believes that imagination is a designated narratology symbol in a narrative work with inner-landscape, it is a realistic portrayal of an object. It has emotional projection of the focalizer and can awaken aesthetics’ association behavior. The narrative work with inner-landscape usually focus on the lyrical content, which seems narrative but actually lyrical. The beauty of inner-landscape is eventually expressed as a deep philosophical thinking, which completes as a self-judgment and idealization reflection.The second chapter utilizes narratology methodology to construct the theory of Chinese film inner-landscape. In the realm of narratology, the Chinese film inner-landscape is constructed by cinematic space, presented by the emotion and congitaion of film narration, and philosophical understanding of the theme, which are deepened accordingly. Film imagination shows aesthetical space of “instantaneous” and “inner” on the basis of visual-actual combination. The film narrative content which pursues the beauty of inner-landscape, always uses emotion as the core and the logical structure, it also uses emotion to control the narration. The spiritual transcend of Chinese film theme is first the break through of outer social consciousness, which in fact is the reconstruction of self-valuation recognition, and eventually explores the ultimate meaning of life.The third chapter analyses the films which has inner-landscape. The beauty of inner-landscape from film “Spring in a Small Town” is the imagination buildup of the unique atmosphere, it depicts the triangle relationship during a specific era, which reveals the humanistic care of the author to during the war. In the film “My Memories of Old Peking”, the imagination constructs a parallel space of childhood Peking. The narration implicitly reveals the separation emotion among the characters, which eventually becomes the deep desire of the author’s spiritual regression. The film “Crouching Tiger and Hidden Dragon” imaginatively constructs impressionistic narration space, reveals the resolute of the knight’s world, and expresses the author’s spiritual world of inner Taoist with outer Confucianism.The forth chapter analyses the current narration situation of Chinese film. It believes that Chinese films need more inner-landscape. It lacks imaginative space to awaken the aesthetics in the construction of narrative space. From the narrative schema point of view, the Chinese film focuses too much on the plot typology and lacks the poetic emotional space, which eventually lead to the lack of philosophical thinking of the theme.This article construct the narrative theory from a narratology point of view, it establishes a new perspective of Chinese film critical theory, and provides a new coordinate for Chinese film’s creative theory.