An Analysis Of The Narrative Ethics Of Chinese Films In The New Era(1979-2000)

This paper draws on understanding of “methodology perspectives” by experts in narratology,Bush,and uses it as a methodological guide and critical principle for“film narrative ethics”."Movie narrative ethics" adopts a "double perspective" research method.On the one hand,it focuses on film narrative techniques.On the other hand,it also keeps the ethical functions of movie narrative techniques in mind.As the "cinematic narrative ethics" puts forward the diachronic requirements for "film language","context" and "ethics",this thesis has explained the concept of methodological principles and concepts of "film narrative ethics" and "ethics".After the clearance,the period of1978-2000,which was of special significance in Chinese history,was selected.Looking from a large background,during these 22 years,Chinese society has ushered in ideological liberation.Under the influence of both Western modernism and postmodernism,people gradually formed a relatively diverse,individual ethical concept in the process of market-oriented reforms in China.As far as the development of the film is concerned,it is a huge change in the concept,theory and practice of Chinese films during these 22 years that echoes with the reflections on modernity and postmodernity in other fields.Since the beginning of the new period,the Chinese film theory community has taken the lead in proposing the issue of “modernization of film language”,followed by the successive appearances of the fourth,fifth and sixth generations of Chinese directors.They have jointly created a brand new look for Chinese films.,and push the Chinese film to the world for the first time.In fact,there are discussions on this period from various angles in the research of Chinese film,such as from the market level and the cultural level.The development of the topic“Analysis of Narrative Ethics of Chinese Films in the New Era(1979-2000)” was more specifically based on the era of the most active Chinese film theory and was selected in the era of “theory nourishment”.As one of the movie "narrative" theory for the archetype of criticism,it was designed to produce from the existing "film narrative" of the existing theoretical results of a "double perspective" film theory criticism.Based on such a principle of criticism,the article basically follows the diachronic contextual changes,with the directional selection of some of the representative lines in the iconic line,and reread it in conjunction with the corresponding theory of film narratology,trying to further explain the narrative ethics of movies in this process of rereading.In the introductory part of the article,the author mainly introduced the film narrative ethics as a guidance method of film criticism,principles and its significance,and compared the "moral" and "ethics" relationship and their difference.Since the new period,under the multiple influence of western modernism and China's market-oriented reforms,we have experienced a series of modernist ethical ideas that are different from traditional moral norms.However,these ethical consciousnesses based on constantly changing emotional appeals and social attitudes can be regarded as an intrinsic engine of the modernization of Chinese film language to some extent.Next,on the basis of a full understanding of the inner tension of the “Film Narrative Ethics”,the author takes the Chinese film from 1979 to 2000 as the research object,but does not attempt to use “film narrative ethics” with dual perspectives to make a complete description of all the details of the movie in this history.In the first chapter of the thesis,the author revisited the 1979 film phenomenon which was the beginning of the Chinese film in the new era.In 1979,China's film theory circle ushered in unprecedented discussions.The topic was about the modernization of film language.In the field of photography,a number of new works emerged in the year.However,far from "Western discourse of modernity",a modernity that is purely embodied in the rhetoric of movies cannot form an accurate connection with modern ethical concepts in the form and content.Therefore,even when Western films actively used modern movie languages such as stream of consciousness and long shots,but as far as movie stories are concerned,a large number of movies that appeared in 1979 still remain at the "pre-modern" ethical narrative level.For example,there are representative films of "Flower","Disappointed People's Laugh" and "The Tremolo of Life".In the second chapter,the author mainly analyzes the fourth generation of Chinese directors and their works as the backbone of the Chinese movie in the 1980 s,and regards "lyricism" and "feminine consciousness" as the extraction of the fourth generation of filmmakers' narrative forms and styles.However,the purpose of the author's explanation is to reveal how a modern ethical consciousness in the transition period is transmitted in the construction of the form.In view of this,1980's "TheX L ittle Street " can be regarded as a model of this transformation.The movement of its viewpoint and the opening of the narrative structure all reflect the increasingly diverse ethical sensibility.After that,the " The My Memories of Beijing " and the " People,Ghosts and Feelings” are representative texts of lyrical traditions,female consciousness and modernity.In the third chapter,the author focused on the representative creation of the fifth generation of Chinese directors' golden years(1982-1992).The author finds that the fifth-generation directors are particularly adept at using color,light,and movie language with strong narrative styles.At the same time,the fifth-generation directors represented by Chen Kaige,Zhang Yimou,and Tian Zhuangzhuang are modeling modern myths for each ordinary individual and at the same time,and also placed their own longing for true ethics.The last chapter of the main part of the paper,the author's main discussion object is the early works of the Chinese sixth generation filmmakers in the post-modern context(1993-2000).Even though these sixth-generation filmmakers all walked on the out-of-system road of “underground movies” invariably,these filmmakers still exhibited distinctive features in terms of narrative language and narrative content:represented by directors of Wang Xiaoshuai,Zhang Yuan and Lou Ye and their works blur the boundaries of various arts and have postmodern narrative features similar to those of literary works,such as incoherence and uncertainty.They show their individual sensation of life as cultural pessimists in self-pity;at the same time,directors and their works represented by Jia Zhangke are reconstructing a kind of“realism” because of their semi-documentary film language and the mobilization of various audiovisual symbols.At the same time,it captures the contradictions and the distance between people in the reform society.Finally,in the rest of the paper,the author once again returns to the foundation of the entire paper: "The narrative ethics of film" is regarded as a theoretical perspective and action principle of a critical perspective or reading method.Looking back at representative movies in the history of Chinese cinema with a new vision,we realized that different ethical consciousness is always inevitably displayed in the occurrence ofmovie narratives.At the same time,this kind of rereading makes us more happily assumed that the narrative behavior of a movie can create a kind of ideal ethical idea that fits with the current context,and for certain ideal ethical pursuits,how we will inspire the occurrence of movie narrative behavior.