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The Research Of Chinese Film Narration In New Era

Posted on:2015-03-06Degree:DoctorType:Dissertation
Country:ChinaCandidate:C Y WenFull Text:PDF
GTID:1265330428955777Subject:Chinese Modern and Contemporary Literature
Abstract/Summary:PDF Full Text Request
As a story of the machine, the film has the basic characteristics of narration.Since the beginning of the film, domestic and foreign scholars’ research about thefilm narratology is in the continuous accumulation. However, since the new period,with the deepening and development of reform and opening-up, Chinese socialthought and literary form, art form have undergone tremendous change. China filmalso experienced the reform that the era turning brings, China films are showing thecomplexity combining art and marketability, research of narration film enters a newstage. In this paper, the author work on the China films in the new period, use themethod of the film narratology from the West, combine with the research results ofChinese literary narration, try to enrich the narrative theoretical system of the filmand open up space for the new interdisciplinary research.On the basis of introduction, this paper is divided into five chapters, archetypalnarration, color narration, body narration, time narration and space narration of thenew period of China film.From human have the ability of thinking, they have not stopping the explorationto the nature and themselves. The self archetype shows the subjectivity of human forthousands of years. The film in the new period is also exploring the self archetype.To explore the self archetype is represented by the same looks hero in many films,for example,"Eclipse","Green Tea","Suzhou River" and other works. In addition,using the unity of identity and the real identity is another method to explore the selfarchetype. The third, the complex circulation of self, sacrifice oneself is also shownin the new period film. Patricide and infanticide are interdependent in the archetype,the myth of the West and East both have the two archetype. In Chinese films in thenew period, on one hand, have the consciousness of seeking the father or culturalroots and the continuation consciousness of cherishing son, on the other hand, have the consciousness of rebelling father and killing son. As an ancient proposition ofChinese and Western culture, revenge is also one the original imagery.“The Orphanof Chao” is the most typical of revenge archetype in the new period films. It is aunique interpretation of Chinese revenge culture, forming a unique contrast inswallow humiliation and bear a heavy load of the Chinese revenge and westerntragedy of fate.Color is one of the four elements of the film photography, and is the importantnarration symbols in the film. In the new period Chinese early the films do not focuson the use of the color language, but Yimou Zhang, as a photographer, use the colorlanguage in his films, whether early "Red Sorghum", or "Hero". Especially the"Hero" use black, white, red and green to narration: each color has different storytone."Curse of the Golden Flower" uses yellow to interpret the supreme authority ofreign, the complexity of human nature and the bedroom blazing and sin. The sixthgeneration director Lou Ye’s "The Purple Butterfly" use the entire film tone bypurple to echo its theme, use purple of not full plumpness to express the desperationand powerlessness of the mere cipher in the mess era. Butterfly, a rich meaningimage of Chinese culture, has beautiful and light shape and vulnerability, alike withthe impermanent and unreal fate of the mere cipher.The body is the place of the spirit and the visual symbols. In the film narration,body symbolic significance is complex and changeable. It has the survival,reproduction, desire and many other aspects of the referent. First of all, the body isthe space where the soul and flesh struggle; Secondly, the body is the visual symbolof erotic desire; Thirdly, the body is the source of pleasure from gender perspective.The gender perspective, is mainly female body exhibition in the view of mal, beingpeeked by the male; Fourthly, as social culture mirror and body code, dress’ meaningis very rich: sometimes refers to sex determination, sometimes refers to gender lost,sometimes refers to emotion. The dress is one of the external symbols of socialculture; Fifthly, the body is socialization by the social ritual of baptism. In thevarious social rituals, moral meaning of body is endowed with social value, once the body against the moral, it will caught in the violence and torture, showing the powerof victory; Finally, in the consumer society, the body has been coded and fashion,the body’s consumption demand and feelings become mainstream of consumersociety. In the film narration, body consumption is divided into three levels: thebody is shaped by the consumer, and even become the moral value of benchmarking;body itself is consumed; image body is consumed.In the process of film narration, narration time is one of the most important andcomplex concepts. Most scholars think that narration time is to be divided by theobjective and subjective time. I think that, in the film narration, even the so-calledobjective time, also rely on subjective consciousness. Euclidean time obeys the lawsof physics, not reversible as its basic feature. The film narration also containsEuclidean time, which mainly is the main time to know from the external modes,including the creation time, event time and viewing time. Narration time of film iscalled the "non Euclidean time", which does not comply with the daily life order, beset arbitrarily, be reversed in the narration means. The author thinks that can bedivided into three kinds of non Euclidean time: faith time, psychological time andnarration time. Based on the recognition of the non Euclidean time, the authorresearched the narration time difference, narration range, narration speed, narrationfrequency, caption and audio elements. The author think that the common narrationmethod of the new period films is: time repetition and cycle narration form, delayednarration by the information breakpoint, the formation of memories back narrationwith the memory and development narration on future.The film narrative space is different from the field of physics space, buta concept of perplexing relationship with body. According to the space concept ofLefebvre in new era the China film space is divided into three kinds: the realityspace, the code space and the psychological space. The reality space is mainlyinclude natural space and social space. The author think that the main spatialpatterns is two opposite of the city and the country. As the cultural root thecountry gather spirit village. And as an opposition to the other end, the city space as the aggregation of modern culture and post-modern culture, show China image in themodernization history and show the confusion, anxiety andimpetuous mood. Between the rural and city, the small towns culture has becomea reference fuzzy zone, also become the important representation of the SixthGeneration Directors to express the edge people of the city. With the development offilm art, the environment space break away from simple ideographic of the naturalspace and social space, but began conversion to produce the transference ofmeaning and abstraction according to the aesthetics of art creators, becomea highly centralized code space. In the film which narration range is longer andcontent is relatively rich, code space becomes a more economical way of expression,such as the yellow land, beach, wheat fields, archways and so on in "Yellow Land","The Beach","White Deer". Compared with the outer space, the psychological spaceof human is more broad and complex, expression of human psychological space infilms are more whirling. The psychological film such as "Lawnmower Man","Female Pupa" expand the space of the expression by psychology subconsciousexpression. In addition to a pure expression of psychological ideology, daily livingspace, as a spiritual character and projection psychological sense, become newmental space, such as house, cellar space images can be used as projectilespsychological space in the film narration.As mentioned above, the author research from five perspectives of China filmnarration in the new era, and try to supplement the basic theory system ofChinese film narratology in the new era, to provide the complete context forsome perspective of Chinese film narration in the new era, to play a certainreference role for the research on other disciplinescan in the the fusion process ofdiscipline.
Keywords/Search Tags:Film narration, Chinese film, archetype narration, color narration, bodynarration, time narration, space narration
PDF Full Text Request
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