The Myth Of "Dance Of Martial Arts": Chinese Martial Arts Film And It's Cultural Spirit

Based on the Chinese martial arts literature, the Chinese martial arts film is a genre which mixed a lot of elements together, such as the performance of martial arts, the dramatic and patternized narrative plot. At the same time, Chinese martial arts film has also absorbed the spirit of the dance since its birth. During the course of absorbing Chinese martial arts' modality and spirit, the Chinese martial arts film not only turned into a new action film genre which had the characters of dance, but also created a beautiful dance by absorbing the techniques of martial arts. We call it "dance of martial arts" because the martial arts on the screen are highly artistic and performable action spectacle .The martial arts in Chinese martial arts film are highly patternized action performances. What they pursued is the connection of the action, plot, scene, and the characters of roles, not just the action and the visual spectacles. Therefore, when the martial arts entered into the film, they had become the "dance of martial arts", and focused on the performance, not beating down other people. In fact, the audience would like to enjoy a beautiful dance on the screen rather than watching the tussle, although there are wonderful martial techniques in it.Historically combined "the history based on text and author" with the actual history, this thesis brought forward the six main genres which narrated mainly about the Legend of gods and spirits, the Biography, the Archaic sabers and swords, the Martial Tussle, the Waggery martial arts film and the magic and fantasy film. Chinese martial arts film always implied the rooted Chinese cultural ethic which supported the whole spirit frame of a martial arts kingdom in its performing tussles and twisting story narration. In the martial arts films, both the schools which the characters belonged in and the variety of swordsmanship and fistic arts had some kind of ethic color and connected with the higher morality of martial arts and society. In the creation of the characters in Chinese martial arts film, the author strictly stuck to the aesthetics tenet of ditheism and set up the narrative/value system with the antitheses of the good and evil, the beautiful and ugly. Thereupon, Chinese martial arts film could be divided into two basic pedigree of characters: the good images which took the heroes as the principal part and the evil images which took the treacherous court officials as the principal part. This thesis also pointed out that the martial arts film provided with the motifs of "repaying the obligation of the host" and "taking the filial piety as duty", the martial arts morality based on the family, the spiritual tropism of errantry and the mundane ethic of nemesis, and besides, the thesis analyzed the narrative function and significance of the main property in the martial arts films.Chinese martial arts film paid more attention to the moral of martial techniques. It provided an effective way for the representation of violence, such as the ethicized, comical, orchestic and poeticized transformation of violence. In a sense, the internationalization of Chinese martial arts film has been changing the ways of image's existence. It is proved with the facts that the commercial opportunities which consist in the Chinese martial arts film will form a new growth point for the future of martial arts film.In these years, Chinese martial arts film are winning the increasing favor of the world filmdom with its unexampled martial arts and spirits, thus speeding up the progress of its internationalization unprecedentedly. From this point of view, the internationalization of Chinese martial arts film has been changing the ways of image's existence. Therefore, this thesis outlined the extraordinary course that how several generations' martial arts film creators strode out the native country and walked up to the whole world.