Types And Development Of Antagonists Of Chinese-language Movies In The New Times

Figure building has always been the core issue of the Chinese movies’ creation;meanwhile, it also has been a comprehensive issue between literacy and the theory ofcreating the movie scenario. However, in reality, human are being complicated,movies are exactly right expressing the human and humanities, therefore, Artisticcharacters are determined by the figures that the movie creators to some extent.Especially the antagonists, because of their unique inner character and complexpersonalities, made the plots of the story become a dynamic balance of the drama. Thecross interaction made the drama a better dramatic tension within the confrontation ofantagonists and protagonists. Antagonists, in compare with the protagonists, theyobeyed the standers of goodness as well as the ethical principals and the legal norms.Further, antagonist is a concept of flexible and comparable; each movie has its uniquelanguage environment. Therefore antagonist’s existence could be argued as based onthe judgment of its unique language environment. In the same way, thecharacterization of inner-side of antagonist could reflect some conflicts and issues ofthe society and additionally explore the complicity of the real life, so as to recall therethinking of the audience. This was the meaning of why antagonist exists.Judging the “good” or “bad” of an antagonist was originally under the ethicalstandards of subject impression. The judgment of antagonist and protagonist wasaffected by the patriotism and nationalism as well as the value of Chinese moviesconveyed. The audience has its own understanding of the figures. It is apre-agreement with the social ethic more than the creation of the figures. The deepermeaning of the figure caused the development of how “good” or “bad” conducted,and makes the figure more excellent. Without these stages, figures in the movieswould be dull and become just a symbol. Literature is about human, while movies arerepresenting humanity. To avoid the simplicity of these creations, study and researchthe development if antagonist in Chinese-language movies is vital.Chinese-language movies explore the unique characters accumulation of theculture with a long and difficult procedure, whatever in the history of literature or in the history of Chinese movies. Before the new China was born, figures in the Chinesemovies are quite simple. The relationship between figures was conflict thatirreconcilable, or the conception was shown from confliction to reconciliation. Toconvey the theme of oppress or against in the movies. Figures with their specialcharacters often shown very clear about good or bad, and make them becomestereotypes. Further in the expression of times, the environment made the figuresmore stylization and surfaced. A long period after China was found in1949, socialreality has restricted to the class and class struggle. There the social reality has beenone-side and went far way from the truth. Artistic activities were principals by theclass and class struggles. In this history, all the figures become symbols with classstruggles stamps. Human needed to obey the class and the individuality needs to fix inthe class and class struggles. These have made a huge impact on the cinematographic.All the figures have become symbols of class, political during the period of1949-1979. Antagonist has a better description until the new times came, avoiding theonly focus on the evil of reactionary class.New generation film makers take a negative attitude towards the expression ofantagonist style in the past. They prefer a more reasonable way to concentrate thecomplex emotion of human. They jumped off from the traditional Chinese movies ofgood or bad, using modernist way to focus on the people from the bottom of thesociety and recording procedure of Chinese society turned to be more modernizationand clearly express the way how Chinese live in such a period. Ethical principals haschanged because of the confrontation of modern and traditional conscious andmulti-thoughts existence in the society that in the period of transformation. Beinggood and being bad is equal in the same place. Being bad are even important. Theyuse a brand new view to show the figures that were being punished in the past andseeking the self-reforming and self-identification with the audience. In this procedure,a new figure came out to the public, the grey figure, which means it does not show inthe system of traditional artistic evaluation. It mainly stands between the antagonistand protagonist.The more mature the creation of the movies, the more complex types ofantagonist came out. Therefore, in the new times, Chinese-language movies expressthe antagonist with multiple characters. At the beginning, antagonist turns out tobecome the enzyme in the movies, making the plots more exciting and exploring thesocial issues. The main problem in this stage, antagonist is too simple and profiling. In the middle of1980, those creators rethinking the antagonist; they realized that inorder to highlight the plots and make it better. The expression of antagonist could bemore complex and reasonable with a new objective view. They used metaphor expressinto antagonist to show the relationship between human. Film makers changed simplypolitical judgment to multiple ethical judgments. This kind of change makes theaudience more tolerance to antagonists. This new type of antagonist is worth forshowing the weakness of human. If there is no re-thinking judgment in people’s life,life will be meaningless. The sixth generation directors prefer focusing on the life oflower class people who have an out of control life than the huge narrating. In order toconvey the complexity of humanity, through the exploring of grey figures’ characterand lives, the reason of disappearance of the ethical standards was found. These greyfigures in Chinese-language movies made a great contribution to the development offigure’s personality. It could well explore the complex value system of the society,using gentleness and kindness to show the unfair life to make the movie’s antagonistsmore touchable.However, there are many problems in expression of antagonists inChinese-language movies. The degree the film makers’ understanding of theantagonists determines the meaning and value of the antagonists. Many researcheshave studied the simplicity of this filed in the late1980s. There was still a separationbetween practice and research. More similar movies show up make the figures lack ofcreativity. Chinese-language movies could express the desire and forbidden of humanperfectly unless the simplicity of antagonist was broke up. Therefore, film makes needto study the life carefully, get rid of the pre-existence of the understanding of thesociety to build the image of antagonists so as to make the antagonist with a more realconvincible character.