Marginal Vigor And Narcissistic Power

In China film field, "The Fifth Generation"film directors are greatly well-known at home and abroad. At the very beginning, Zhang Junzhao, Zhang Yimou, He Qun and Xiao Feng established the first Youth Studio Group in Guangxi Film Studio in China and produced the film named One and Eight, meaning that they held up a very different flag from their predecessors'and shot their first bullet soundly in China film field. It was the shot that a new representing field and possibility was exploited, the film art theory was enriched and China film career was led to a completely fresh orientation. What makes us surprised is that Guangxi Film Studio was the birthplace of "The Fifth Generation"film directors, a marginal zone that was far away from the center and the mainstream. Among the big film studios in China, however, it was only a new second-class one, short of talents, capital, equipment, workshops and even the land for workshops. What's more, Guangxi Zhuang Autonomous Region locates in minority areas in South China, whose politics, economy and culture are relatively backward, compared to other areas in China. Generally speaking, it would not have considered films that belonged to an "extra"international "luxury". Yet the unquestionable fact was that Guangxi Zhuang Autonomous Region established their own film studio, where it brought up "The Fifth Generation"film directors who started a new chapter of China film. At present, "The Fifth Generation"film directors are in the mainstream, lacking the enthusiasm and creativity in those days, while Guangxi Film Studio is at a low tide like other big film studios in China. Nevertheless, we have never made an anthropological field investigation into this "Guangxi Film Studio Phenomenon"to find out the interrelations between each internal segments, not drawing a summary conclusion. After so many years, it is undoubtedly significant and necessary that we retrospect, analyze and conclude the phenomenon with the studying method of aesthetic anthropology. With this aim, the thesis, starting with "The Fifth Generation"film directors'first film One and Eight, analyzes the relations between Guangxi Film Studio and "The Fifth Generation"film directors and their backgrounds with the studying method of aesthetic anthropology. Via the film text, field investigation, related materials, consideration and analysis, the thesis holds that the success of Guangxi Film Studio and "The Fifth Generation"film directors depended on their marginal position and its marginal vigor. They make use of the power of "ideology deformation"and "imaginary distortion"to get their brilliant achievements. The thesis is divided into five chapters: Preface: Simply introduce the aim, significance and studying method of the thesis. Chapter â… : State and explain the backgrounds of world films, China films and Guangxi Film Studio, the producing process of the original poem, adaption, film script and the film of One and Eight, and the backgrounds of "The Fifth Generation"film directors and the characteristics of the time. Chapter â…¡: Analyze the content and form of One and Eight. It is considered that the film inherits the traditions of China film aesthetics, however, more importantly, it impacted, challenged and even overthrew the old film languages. Chapter â…¢: One and Eight was successful because of the following factors: Guangxi Film Studio as the marginal vigor, the need of the time and "The Fifth Generation"film directors'circumstances, talent, hard work and exploration. Chapter â…£: Analyze Guangxi Film Studio and "The Fifth Generation"film directors with the studying method of ideology. They are thought to be successful with their marginal vigor and the power of "ideology deformation"and "imaginary distortion".