| For Chinese films in the 20 th century,the 1980 s was an important turningpoint in film development.“The Fourth Generation” through this historical tran sition period as a connecting link between the preceding and the following.Th e so-called “Inheritance” refers to the continuation of the traditional film of theRepublic of China and the discourse paradigm of Soviet Marxism formed in t he 1950 s and 1970 s,and the beginning of the transformation and renewal of t his paradigm.The so-called “Enlightenment” means that it opens the discourse p aradigm of “aesthetic modernity” of movies,advocates “modernization of film l anguage” and “return of film noumenon”,and has a profound impact on the c onstruction of the concept of “the fifth generation” of modern movies.“The Fourth Generation” movies came into being in the special context of the historical turning point in the 1980 s.With the turning of the whole society in the1990 s,the tide of globalization,market economy and consumerism came and was quickly abandoned by the times.Although “The Fourth Generation” films has became a thing of the past,its interpretation and re-evaluation has not been fully carried out.It has been forgotten in the gap of history,hidden under the edge of “The Fifth Generation”film,and neglected its foundational role in the generation of the 1980 s film.Nowadays,the academic upsurge of “returning to the 1980s” provides a useful way and method to re-examine the cultural heritage of the 1980 s,as well as an opportunity to re-examine “The Fourth Generation” film heritage.This paper chooses to put “The Fourth Generation” films back in the “historical space” of the 1980 s and “historicalize”、“defamiliarize”“The Fourth Generation”films.Through the analysis of social trends of thought,cultural system,film historical materials,film theory and film works,this paper attempts to restore the ideological strategic appearance and exit of “The Fourth Generation" films in the historical and cultural context of the 1980 s.According to this idea,this paper is divided into five chapters to discuss.Chapter One: The Cultural Context of “The Fourth Generation” Films.The launching of the “ideological liberation movement”has escaped from the narrative model of revolutionary totalization,opened up various discourse forms such as "humanitarianism","enlightenment" discourse and "cultural fever",and formed the ideological source and theoretical foundation of artistic creation in the 1980 s.Reviewing the strategic generation of these discourses in the 1980 s and returning them to the historical context and cultural trend of thought will constitute the premise and basis for understanding the "fourth generation" films.Chapter Two: The theoretical argument of “The Fourth Generation” Films.With the slogan of the modernization of film language,“the Fourth Generation” calls for the film to be liberated from its relationship with drama and literature,to return to the film itself,and to establish a new modern concept of "film is film".Behind this concept is to change the traditional Marxist film discourse paradigm,and to respond to the gradual modernization of the social process that began in the 1980 s with the modernization of the film concept.Chapter Three: Aesthetic Practice of “The Fourth Generation” Films.This chapter will examine the main characteristics,knowledge pedigree and aesthetic style of "The Fourth Generation" creative groups.In the early period of "The Fourth Generation",the focus was on the "Cultural Revolution",which confined the reflection of the "Cultural Revolution" in the small space of individuals with a sentimental mood,lacking depth and strength,but opened the turn of personal narrative;in the later period,the focus was on the conflicts between civilization/tradition,urban/rural areas in the process of modernity,reflecting the impact of the modernization construction gradually carried out in the 1980 s on people’s ideology and concepts."The Fourth Generation" film creation is closely related to the mood of the times,trying to breathe and resonate with the rapidly changing social reality in the 1980 s.At the same time,with the concept of documentary,the integration of poetic tradition,a new and modern sense of film aesthetics try to carry out.Chapter Four: Text Analysis of “The Fourth Generation” Films.Although the film art is progressing by the overall evolution of Chinese society,it is not a mechanical correspondence,but based on the unique aesthetic logic of the film itself.This chapter chooses "Street","Old Things in the South of the City" and "Wild Mountain" as three texts for specific analysis,and comprehensively investigates the changes of social emotions revealed by "The Fourth Generation" films in the course of historical time,as well as the new changes in the way of film creation in the text.Chapter Five: The Social Scene of “The Fourth Generation” Films.This chapter focuses on the social-allegorical connotation of “The Fourth Generation" films image style.Between the discourse paradigm of "Marxism" and the discourse paradigm of “aesthetic modernity”,“The Fourth Generation” films attempt to carry out a unique ideological exploration,which can be called "Enlightenment Marxism".At first,this exploration adapted to the social and historical turning point at the turn of the 1970 s and 1980 s,thus gaining its own living space and historical status for art.However,this exploration was limited by the growth experience,knowledge pedigree and value orientation of “The Fourth Generation” creative group,and failed to further explore an independent aesthetic space.With the advent of the era of globalization and market economy,“The Fourth Generation” film art can not adapt to the commercial nature of the film,nor can it resist the arrival of mass culture and consumerism,thus withdrawing from the stage of history. |
