| The issue of"modernity"and"post-modernity"is one of the most important theoretical topics disputed by the ideological, theoretical and academic circles of the western countries as well as a"prominent subject"that is disputed worldwide today. At the end of the 1970s, with the adjustment of China's national policies as well as the implementation of reform and opening-up, the theory of modernity and post-modernity were continuously translated and introduced to China and gradually aroused an upsurge of disputation. The reasons why this thesis chooses the theory of modernity and post-modernity as the starting point of studies are because it has powerful force of retrospect and exemplification, which can provide a high point for the contemporary academic studies (film art included, for sure). Like a CT and a cubic scanner which have super powerful penetration power and the function of three-dimensional scanning, it not only covers many subjects and academic areas, but also can reveal the plurality and multi-dimensionality among them, thus adding new vitality to the Chinese cultural and academic studies. This is also one of the reasons why the upsurge of disputation of"modernity"and"post-modernity"has not receded in China.With great compatibility and explanatory power, the theory of"modernity"and"post-modernity"is the instrument for the studies and explanation of the Chinese movies of the new eras. At the end of the 1970s, China adopted the policy of reform and opening-up, which resumed the Chinese modernization course initiated in the 19th century and broke down intermittently. After the rise of cultural"modernization"in the new era,"post-modernization"has been spread quick as lightning to every corner of the social culture. China, therefore, has been turned into a region where diverse and multi-dimensional culture co-exist. In the competitive environment, the traditional (pre-modern), modern and post-modern cultures intermingle and realism, modernism and post-modernism are entangled. In the wrestling game, they have their own survival space,and the Chinese movie culture emerges with a complex look and aesthetic pattern characterized by diversity and blending. In addition, the theory of"modernity"and "post-modernity"originated from the soil of western culture and was later transplanted to China. Like oranges grown in different localities, this accordingly has produced a local change, making it present an exotic cultural formation different from the western society. The main feature of the thesis lies in that it applies the theory of modernity and post-modernity to some screenplays in new era, contemplating and exploring them aesthetically. While those screenage works of critical realism and romanticism having little connection with modernity and post-modernity are not within the scope of the thesis."Modernity and Post-modernity: Concept and Studies"—the introduction part of this thesis—makes theoretical definition of the concepts of"modernity and post-modernity"and discriminates a group of similar concepts of the same"family"—modern/modernity/ modernization,post-modern/ post-modernity/ post-modernization,and modernity/ post-modernity. Modern/post-modern is a historic concept to define the historic periods. Modernity/post-modernity refers to the social and cultural trends in the western modern society/post-modern society. Modernization/post-modernization refers to the historic course of the social formation changing from the tradition to the modernization. Modernization/post-modernization refers to a kind of attribution happening in the historic and cultural changes in the society. These concepts are usually casually used. However, to make the writing of this thesis clear, it is necessary to make a clarification of these concepts. Then, in the framework of the theory the thesis makes studies on the basic information of the"modernity"and"post-modernity"of the Chinese movies. While affirming the achievements of exploration of the others, this thesis points out the deficiency, weakness and new direction of the studies concerning"modernity"and"post-modernity"of the Chinese movies."Transformation of Modernity and Post-modernity of the Chinese Movies in the New Eras"—Chapter 1 of this thesis—makes a sketch description of the historic periods of transformation of the modernity and post-modernity of the Chinese movies and makes comprehensive analysis of its basis spiritual contents and external characteristics, which also makes introduction for the following two chapters. The transformation of modernity underwent three periods: 1) The initial period (1977-1982); 2) The cataclysmic period (1983-1987); 3) The finalization period (1989-now). The basic spiritual connotation includes 1) the pursuit of the truth, 2) the return of humanity. The post-modernization underwent three historic periods: the first period (1987-1992), the second period (1993-2001), and the third period (2002-now). Its cultural characterization lies in the industrialization of movie mechanism, affirmation of the movie marketability, pursuit of movie entertainment orientation and post colonialism of movie market."Modernity Characteristics of the Chinese Movies in the New Eras"—Chapter 2 of the thesis—is comprised of four parts: 1. cultural characteristics of modernity transformation (A); 2. cultural characteristics of modernity transformation (B); 3. introspection of aesthetic modernity; 4. aesthetic style of movie mirror images of modernity. From the viewpoints of social criticism and ideal reconstruction, Part 1 makes analysis on tradition and modernity, civilization and ignorance, reform and conservative, and introspection and seeking roots. From the viewpoint of"human beings"—the core of modernity theory—part 2 makes deep analysis on awakening of subject of consciousness, redeeming of historic hostage, affirmation of individual value, game play between"father"and"son", and seeking of female subjectivity. From the viewpoint of aesthetic modernity, part 3 makes analysis on the alienation phenomena in the transformation of China's modernity, including loss in city life, monetary extrusion, and media deviation. From the viewpoint of aesthetic form, part 4 makes analysis on the three characteristics of modernity regarding the development and manifestation of realistic aesthetics, factualism aesthetics, and film and image aesthetics."Post-modernity Characteristics of the Chinese Movies in the New Eras"—Chapter 3 of the thesis—is comprised of five parts. Part 1 is about the cultural countermeasures concerning the post-modernity movies. From the viewpoints of mockery, satire and games, this part makes analysis of the post-modernity vs. modernity. Part 2 (A)—deconstruction center—is about the spiritual connotation of the post-modernity movies, including esteeming the perceptual culture, authority of deconstruction center, and digestion of grand narrative. Part 3 (B)—spiritual connotation of post-modernity movies—is about clearing up body, which makes analysis of the performance of"body"in the post-modern society, including the recede of body, the disappearance of heroes, and expansion of body appetite. Part 4 (C)—diversified narrative—is about the spiritual connotation of post-modernity movies, which makes analysis of marginal culture from the viewpoints growth narration, gay narration, bottom narration, and female narration. Part 5—mirror image style of post-modernism—makes analysis of the widely employed rhetorical methods in the post-modernity movies, including the deconstruction of"primary narrative", fragmentization and collage, mutual cultural nature and parody."Complexity of Movie Culture of the New Eras"—Chapter 4 of the thesis—argues that the modernity culture and post-modernity culture co-exist in the Chinese cultural context and do not follow one another in sharply linear development, thus forming the special mentality of the Chinese movie directors in the"Janus"era as well as the artistic expression pattern and outlook featuring in hybridization and free thinking and tolerance formed in the social transformation era. The hybridization of modernity and post-modernity is also presented in this thesis. Therefore, this thesis makes analysis by means of theory and text."Defending or Pioneering: Tendency of Movies of the New Era Crossing Between Modernity and Post-modernity"—Concluding Remarks of the thesis—makes analysis of the value orientation and development tendency of the Chinese movies in the new eras. The appearance of post-modernity does not mean the completion of modernity. Instead, modernity still has progressive value connotation in the new era. Human beings have not fulfilled the goal of modernity. The criticism of post-modernity on modernity has certain reasonable significance. However, we should also be alert about its negative elements. The Chinese movies in the new eras should insist on the positive attention of modernity to the world, the society and people's living. At the same time, taking advantage of the post-modernity, we should construct new film culture. Only in this way, we can build up the advance culture living up to the decade, the nation, and the people.
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