Phenomenological Perspective Of Contemporary Documentary Movement In China

The Contemporary Documentary Movement in China has been arresting wide attention both at home and abroad, which can be regarded as a subverting revolution to traditional ideas and tactics of the Chinese Documentary Film. The New Documentary Film, known for its perspicuous feature of " allegory ", has created a unique cultural phenomenon during the 1990s. It has not only influenced the relative fields of arts, such as film, literature, painting, music, etc. but also developed a unique way for people in our time to convey culture and reveal humanity. The aesthetic theory on which the documentary film is based can be categorized as the phenomenological realism. However, little work has been done to unveil the value of the New Documentary Movement from the perspective of theoretical resources.This paper includes four chapters:Chapter I attempts to provide a systematic explanation of the evolution of the language of the New Documentary Film in China, mainly by virtue of the analyses of linguistic ontology of phenomenology, as well as philosophy of embodiment, psychoanalysis, rhetoric, Chinese classical aesthetics, in order to clarify the very process of the establishment of the linguistic ontology of the Documentary Film in contemporary China .Chapter II, III, IV, by employing the ideas of the inter-rational phenomenology, intuition phenomenology and the live-world phenomenology put forward by Edmund Husserl in his late years, attempt to unveil the innate value of the documentary practice of the pioneer film image, the individualized documentary practice and the spirit of documentary film in contemporary China , all of which happened in the last decade, esp. the last two or three years.