Research On The Sixth Generation Films From The Perspective Of Cultural Memory

Based on the interpretation of the text of the film,this paper takes "how the Sixth Generation Films participate in the construction of cultural memory in the transitional period" as the starting point,and combines the background of the transitional period to explore the cultural memory of the Sixth Generation Films.It tries to integrate the viewpoints and methods of culturology,memory,cinematology,sociology,anthropology,philosophy and ideological history to analyze and summarize how the Sixth Generation Films identify themselves,how they choose to remember and what they remember,so as to present the memory function of the Sixth Generation Films in the breakdown of China's transitional society.In the process of participating in the construction of cultural memory in the transitional society,the Sixth Generation Films construct a sixth generation dedicated to seeking identity,a traditional son who tore himself apart,and a image of "waste" that is dying.This paper is composed of four parts,which are discussed in terms of the general layout,the progressive deduction of layers and the thinking structure of the combination of argument.The main body of the paper is a logical integration of "who is remembering,how to remember and what to remember".The first chapter is a link between the preceding and the following.Based on the relationship between cultural memory and the sixth generation of movies as a breakthrough point,it seeks a path for the sixth generation of movies to cultural memory,that is,to determine that cultural memory can be used to explain the face of the sixth generation of movies,and to interpret the cultural memory for the sixth generation of movies to find "cause" and "reason".It lays a theoretical foundation for the discussion of the main body of the paper,that is,"Who am I,why am I the main body of memory,and what do I remember?"The second chapter analyses the position of the sixth generation movies,that is,to solve the problem of "who am I".Cultural memory is closely related to identity,and its position influences or determines the self-identity of the sixth generation movies.This paper expounds that the Sixth Generation Film is a self-image different from the Other in the uncertainty of transformation and fission,and in the anxiety of the fifth generation influence.During this period,there is a sixth-generation movie that seeks identity.Chapter three analyses the sixth generation of time construction,that is to say,how to memorize and become such myself in the sixth generation of movies.In the interaction with the social framework of transition,the sixth generation films have become the sons of the times in maintaining the coherence of time,and the traditional sons of the memory mission in the era of transition in maintaining the unity of identity.As a result,the sixth generation of movies construct time in a self-tearing way,and extract memory from the transition period in the way of art movies that pursue absolute restoration of reality to "anti-commercial movies".In the contradictory movement of tearing oneself apart,he has achieved remarkable traditional sons.Chapter ? explains the image memory of waste,that is,to solve the memory of the sixth generation of movies.Based on the idea that "who I am decides what I remember and what I remember constructs who I am",this paper elaborates the traumatic memory of the storage function of the "remnants" of modern industrial civilization in the period of social transformation in the Sixth Generation Films.They express their strong emotions and social responsibility with traumatic memories that do not disappear,move,flow,communicate and open.These traumatic memory symbols stabilize the memory of time and present the memory conscience of the Sixth Generation Film,making the Sixth Generation Film a hard core that can touch the memory of the times and a waste image memory that is dying.The main part of the thesis presents a relationship of intertextual co-construction.Who decides the way of memory and the content of memory,but the way of memory and the content of memory construct the identity of the sixth generation movies.In the interaction with the transitional society,the Sixth Generation Film has constructed a waste image memory of searching,tearing and dying in the transitional era,which shows that the Sixth Generation Film is a knowledge existence to test the speaking space.At the same time,it also makes an interval distinction between the sixth generation of movies and previous generations of movies.By analyzing the cultural memory of the Sixth Generation Films,we can not only recall the social reality of China in the transitional period,but also recognize an extraordinary Sixth Generation Film.We can understand that the Sixth Generation Films are a generation of movies that strive to find,construct time and give deep affection and respect to the national history.