The Nationalized Writing Of The New-century Indian Cinema

As we all know,Indian movies have distinct and unique characteristics.The main feature of this feature is its national style,which is also an important reason why it can win the audience at home and abroad.What is the specific manifestation of this feature and the power to shape it is the problem that this article is trying to solve.In order to answer the above questions,this paper chooses the new century Indian film as the research object.The reason for choosing this research is mainly for the following three reasons:First,the Indian government officially recognized the industrial status of Indian films in 1998.Second,the Indian government made drastic reforms in economic development in the early 1990s.The above-mentioned measures have enabled Indian films to gain strong development momentum in the new century,thus showing a different face from the previous one.The third is that since the new century,many Indian films have been introduced into Chinese cinemas,which has aroused widespread folk and academic circles.Concerned,but related research has not kept up.Therefore,choosing the Indian film in the new century as the research object has the epochal significance and theoretical significance of advancing with the times.After reading a large number of film texts and synthesizing the research results of Indian film research scholars at home and abroad,this paper believes that the new century Indian film can be divided into two types:Marsala film and art film.On this basis,this article separately from the content.The three cross-sections of form,internal appeal and internal appeal respectively explain their nationalized writing;in the longitudinal section,this paper analyzes each cross-section in a three-dimensional manner according to the method of internal and external and external.And interpretation.Specifically:At the content level,the nationalization of Indian cinema in the new century is first manifested through intuitive images,that is,the new century Marsala movies and art films depict and depict Indian national cultural images.The specific performance is that Marsala film focuses on the four areas of love,family,society and religion.Art films target the three fields of society,family and women.Through a concrete story,the material and cultural life of the Indian people with a strong national character is presented.The main reason why these fields can enter the writing vision of Indian cinema in the new century lies in the strong religious complex of the Indian people,the strong national cultural sentiment,the unique national aesthetic taste and the care and criticism of reality.The power of culture and aesthetics.At the formal level,the nationalization of Marsala's film in the new century is embodied in its unique narrative mode,namely the song and dance mode,the Marsala model,the ring-ring mode,the melodrama mode and the dual model of good and evil.The formation of these models is inseparable from the study and imitation of Hollywood,but the greatest strength in shaping them comes mainly from the four aspects of Indian religious culture,traditional drama,narrative literature and audience aesthetic taste;New Century Indian Art Film The nationalization of writing is embodied in the lack of pioneering exploration,the opening of professional actors and the importance of storytelling.This writing method is inseparable from the study and imitation of European art films,especially the new Italian realism,but different from the market environment of European art films,the appreciation and taste of the people,the influence of early art films and the new generation of Indian art.The choice of the director is still the main force shaping it.In the end,at the level of internal appeal,the nationalization of the Indian Marsala film in the new century is mainly manifested in the following four aspects,namely,promoting the correct concept of faith,constructing the ideal image of India,preserving the traditional culture of the nation and pursuing the independence and ideal of the individual.The reason for this is that incorrect beliefs are an important reason for the long-standing existence of religious conflicts in Indian society.The social reality of the problems makes the country of India difficult on the road to stability and prosperity,radical economic policies and modern consciousness shocks.The traditional Chinese culture that the Indian people are proud of,strong patriarchy and traditional ideas have made the Indian youth generation feel depressed.They are the main reason for the emergence of the above four aspects.At this level,the nationalization of Indian art films in the new century is mainly concentrated on the three levels of society,gender and thought.They are aimed at issues such as caste,female discrimination,political corruption and traditional prejudice that have long existed in Indian society.In general,the nationalization of the Indian Marsala film in the new century is mainly achieved in the form of"dreaming",while the art film focuses on exposure and criticism.Because they are consciously rooted in the local cultural soil,they have achieved success in their writing.Compared with the success of the Indian film in the new century,the Chinese film in the new century has not achieved comparable achievements.Therefore,for Chinese movies,Indian movies are undoubtedly a good model for learning.And compared to learning Hollywood,Chinese film learning from Indian film has the following two advantages:First,geographical advantage,China and India are adjacent,which is conducive to communication;Second,cultural advantage,China's research on Indian culture has not been interrupted,Have a cultural reserve to understand Indian cinema.Through this research on the nationalization of Indian cinema in the new century,it may be possible to provide a reference for the successful nationalization of Chinese cinema.