Cinematic Narration Of Postmodernity In Recent Chinese Films

Considering the collision and integrating between Chinese film narration and post-modern social culture, it is analyzed that the variational character of film narration when it is self-updating in the context of fluctuant social climate. Starting with the Socio-cultural which is nearly relative to film narration, it is drew the brief outline of situation of narrative aesthetic in contemporary films in the introduction. Afterwards, on the background of film narrative theory and film ontology, it is generalized the trend of thought of film narration, together with the principles and modes of contemporary film narration in chapter one. With that it is deep into the film narrative code in chapter two, to open out the components on which Cinematic narrative modes depend, to detailedly differentiate and analyse the re-shape and fission of film narrative code / perspective / speech in the context of post-modernization. Film narration is a complex system, for the mulriple film elements as image, dialogue, aside, music, colour, perspective, and editing, and so on. The change of means to embody the film narration in the context of contemporaty culture, is an important aspect in film narrative studies. Seeing that Chinese films takes on certain post-modern character, it is centred on analyzing some director's films which are with post-modern narrative character in chapter three, at the top angle of metaphysical esthetics, combing materially and concretely describing and distinguishing, to produce the interpenetration of individuality and universality, avoiding two kinds of extremeness that whether terrifically abstract of extremely material. Finally, this paper advocates dialectic opinions of Cinematic narration about contemporary Chinese films, via the reflection on the achievement and deficiency of Chinese films'post-modern narration, also by the introspection on its crisis and possibility.