Grass-roots Level Images In The Multi-view

"The grass-roots level films" emerged after the 1990 s as a special literary style in the transitional period of China. It is not only different from the left-wing films and the lower-class narration which is confined to the revolutionary discourse in the seventeen-year films, but from the lower-class narration which is restricted by the enlightenment discourse in the films of the 1980 s as well. Since 1990 s, the grass-roots level narration has experienced the process from the singularity to the multi-discourse, which made the phenomenon that the unitary hegemony manipulated the grass-roots narration disappear. Expelled from the dominant discourse which the great images and the expensive film-making controlled, the grass-roots films have become the conflicting center of the elites, the major trends and the commerce. The appearance of the grass-roots films is not without foundation but has its own rich pre-history and available resource. Therefore, as an interpreter as well as a discourse, the grass-roots films have undoubtedly become the center of the different conflicting ideology yet from the left-wing films to the seventeen-year films and even to the present.In the part “the birth of the grass-roots level films as a result of an artistic exploration”, this writer put the focus on the analysis of the theme and essence of the grass-roots level films, and pointed out the grass-roots level films often tell the stories about the individual disillusionment and the cycle of fate between the generations, therefore, their styles are dark and negative as a whole. However, the important contribution of this kind of artistic exploration is that it truly presents the living dilemma and spiritual crisis of the grass-roots level individuals today, especially through the interpretation of moral polarization and ethical choice among the middle lower classes of the dilemma during the transitional period. It also makes the ethical embarrassment more prominent, which suffered from the marketing rules under the modern social background. In addition, the thesis analyzes the obvious code images and the prostitutes in this kind of films and illuminates the secret cohesions and echoes with traditional left-wing filmsIn the part “the grass-roots level narration based on the major trend”, From three aspects: the moral narration, the unique telling style of the success of the grass-roots level people, and the spokespeople and saviors of the class, the thesis analyzes: 1).the narrative features of this kind of films; 2).the flexible narrative techniques and artful figures of speech;3).the transportation of the dominant ideology; then draws the conclusion that:1). films can change complicated social problems into moral discourses; 2).through retrospective and poetic self-accounts of the success stories of the grass-roots level class, it seems that this kind of films is a presentation of harmonious existence of the grass-roots level class, but really contrary to the modern imagination; 3).the dominant ideology put its stress on people’s identification of the present social order through presuming that the grass-roots level class are the spokespeople and saviors of society.Due to commercial mode narration in the context of consumption society, the prosperity of comedies about the grass-roots level films and suffering plays about the women from it has been greatly promoted. The thesis focuses on the analysis of the two different consumption ways, in which the former one took the grass-roots level class as an example of being mocked and stunt; however, in which the later one transferred the grass-roots level class women’s sadness and sufferings into sale point. Furthermore, the present writer admits that some films go beyond the traditional comedies and family ethical plays. But on the other hand, the presenter writer realizes that there is a new developing trend of the grass-roots level films based on commercial discourse since 21 st century, which is shown from the following aspects: absurdity and black comedy in style; vacancy as a signifier in the grass-roots level films; a mixture of the subject matters between the grass-roots level films and the middle-class films; the ambiguity of the definition of grass-roots level films etc.Under the guide of these arguments, this part is a criticizing analysis about the ideology expressed in the grass-roots level films. Through it, we can see that the dilemma which the grass-roots level films are facing is obvious just because of the influence of different ideology. Although it can be a challenge to the dominant ideology while the elites are dealing with the subject matters of the grass-roots level people, the individual richness and differences have often been ignored in the grass-roots level films due to the dull creation of the grass-roots level people. The elites often enforce their intelligent quality and thinking upon the grass-roots level people, which directly lead to the displacing between the images of the grass-roots level people and the purpose of their creators. It is clear that there is a dividing border between the small “I” and the big “I” when the grass-roots level characters are shaped by the dominant ideology. With the help of some narrative skills such as coincidence, embedding by external factors, or holding some strange talents etc., the dominant ideology tries to find a way out to the dilemma of the grass-roots level people, which, on the contrary, makes the expression of the grass-roots level vacant. Besides, too excessive didactic teachings in this kind of films made the ideology included in it easily disposed, which just disobey the principles of ventriloquism of it. The grass-roots level expression under the control of consumption society is just meeting the common people’s vulgar needs while it is rewriting the dominant ideology and the elites’ interests. So the grass-roots level characters are often coded and fragmented due to the parody and distortion of them.All in all, grass-roots level films not only put their focus on the daily life and living experience of the lower-class people, but also discuss their life experience and emotion, which provide us with special pictures different from the films about the middle and rich class and enrich the narration of the contemporary films. Based on the dominant ideology and the commercial narration in the context of consumption, the grass-roots level narration will become the center of most people’s concerns. To some extent, the exploration of grass-roots level films makes this kind of films which are often ignored and shaded become known by people during the course of commercialization and industrialization. Holding the view that these contributions made by the grass-roots level films should be admitted, the present writer asserts that the traditional realistic film producing methods should be kept and highly ranked at the same time, and it is the key point for the grass-roots level construction of self-identification culture that the living and life experience of the grass-roots level people should be truly expressed.