Analyses On Mr.Zhang Yimou's Movies--About The "Two-pole" Aesthetic Phenomenon And The "Extreme" Director's Thinking

The thesis elaborates on the "two-pole"aesthetic phenomenon and the "extreme"director's thinking, which are embodied in Mr. Zhang Yimou's Movies. Having made a general study of his movies over the years, from his first work THE RED CHINESE SORGHUM in 1983 to the latest movie HERO in 2002, which are grouped into "ideography"and "documentation", the thesis dissects the anesthetic ideas contained in those movies and further excavates the roots of the "two-pole"aesthetic phenomenon and the "extreme"director's thinking. The thesis highlights the "two-pole"anesthetic phenomenon and the "extreme"director's thinking; however Mr.Zhang's movies vary and change. From perspectives of the movies'basic elements like space, color and sound effect, Mr. Zhang uses the "extreme"director's thinking, which means that he makes those basic elements work towards the limits of both "ideography"and "documentation", so as to create his unique movie field. More over, the thesis explores the roots of the "two-pole"aesthetic phenomenon and the "extreme"director's thinking through analyses of Mr. Zhang Yimou's personalities, experiences, and influences from other directors as well as the overall social environment, so as to reach a conclusion of his movie creation, and thus further prompt the onward development of Chinese movies. There are 5 chapters in this thesis. Chapter 1 is the introduction, which briefly states the current research, purpose and outlook of the subject being studied, and explains the concept definitions employed by the author. Chapter 2 explains the "ideography"in the "two-pole"aesthetic phenomenon. From perspectives of space, color and sound formation together with his movie representatives (THE RED CHINESE SORGHUM, JUDOU, RAISE THE RED LANTERN, THE ROAD HOME as well as HERO), it dissects how Mr. Zhang makes his movies work towards the limit of "ideography", as well as its related aesthetic effects. Chapter 3 talks about the "documentation"in the "two-pole"aesthetic phenomenon, with two movies as example (THE STORY OF QIUJU and NOT ONE LESS). From perspectives of outward & inward shapes and ways of expression, it dissects how Mr. Zhang makes his movies work towards the limit of "documentation", as well as its related aesthetic effects. Chapter 4 makes an anatomy on the "two-pole"aesthetic phenomenon and the "extreme"director's thinking through analyses of Mr. Zhang Yimou's personalities, experiences, and influences from other directors as well as the overall social environment. Chapter 5 is the conclusion, which brings the whole research to a natural conclusion, and at the mean time, makes a bold forcast of his movies' future.