| The historical figure film is the most prominent and influential film ideographic practice in the films of new-century China. In view of this, this paper, with the historical figure film as its research object, focuses on the formal expression of their texts, aiming to reveal the repressive power and the oppressive effects behind their aesthetic forms.First, through the study of narrative structure, the paper found that most of the historical figure films are characterized by a narrative syntax fracture and a weaken narration. Based on this analysis, we draw the conclusion that this textual form is a sympton of the loss of ability for the power to control historical time and to organize a legal performance. Meanwhile, it is also an indication that the power wants to realize a suppresion of the speech. A broken semantic strand directly inhibits the process of thinking. In such conditions, the production of the concept of history became a problem, and an effect of suppression of speech through this historic production pops out.Secondly, this paper analyses the repressive effects of the power discourse and mental manipulation on the subject's spirit. In order to cover up and compensate the fragmented sentence structure, the new-century historical figure film employs a lot of persuasive music. This kind of inductive music and "philosophical interpretation" from the text, as a ubiquitous violent factor, become a kind of voodoo-like mental manipulation tool, constraining the subject's spirit. Here, sacrifice ethics as one of "philosophical interpretation", also has repressive effects because of its maintenance of the oppressive power institutions.Finally, this paper is to reveal a negative and anti-historical discourse stance through analyzing the tendency of "historical landscape". Through analysis, we find that, as the suppression of time and transfer images highlight the carnival and the space under the name of history that the game can be played out. Disconnected from the national context and reality of the historical association, the big history degenerated into a series of fragmented heritage old track and historical landscape, being deprived of the meaning of history. In such conditions, history was materialized. Standing behind the materialized history is not only an oppression of a global mechanism, but also a metaphysical ideology aesthetic rule from the domestic power system. Thus, we arrived at a final conclusion that to the historical figure film in the new century is a repressed text. |
