The Summary Exposition Of Feng Xiaogang's New Year Movies According To The Film Ontology

In the 1990s, faced with the long-term slack China's film market, on the face of the minority of Chinese art film directors that was recognized by overseas film festivals, even in the face of the unstoppable invasion of the foreign films, Feng Xiaogang done a facture protest with his films. He integrated "Chinese characteristics" into this type of comedy, a series of his films has maintained a very high at the box office. Since then a large amount of New Year Movies has been producted in the Mainland and open up the path of a new development space for the Chinese commercial film industry.Feng Xiaogang's New Year Movies regards the commercial nature of film as the Standard, those films not only harvested huge box-office, but also received doubt, denial and attack from the elite.Such conflicts caused the adjustment of the concept of the Chinese film and the capture of the movie words power. This constituted a landscape in the 90's China film.Based on carding Feng Xiaogang's New Year Movie sat the end of the 1990s, this article inspects its complex birth environment, carries on the objective appraisal to the success and failure in the artistic and the thought aspect, makes the critique to the significance which those movies has for the Chinese movie industrial development.In this paper, the researching innovation point is the following: in the context that the Chinese Market-oriented film has already been the general trend, the artical focuses on the ontological significance of the film, through its ideological commercial significance and aesthetic significance, analyzes the contribute of Feng Xiaogang's New Year Movies for the film commercial and marketization, analyzes Feng Xiaogang and his New Year Movies according to the film ontological significance. thus promotes the development of Chinese national film industry in the new context.First the paper elaborates the historical inevitability of the Chinese New Year Movies. Chinese society culture reforming has brought the opportunity for the further development. After the reform and open policy has been implemented for more than ten years, the change of the planned economic system to a market economic system has led to social and cultural transformation Commercial culture has become social recognition, the independence and the ontology of film arts has been confirmed. The film entertainment and commercial functions has been gradually becoming prominent. At the time China's New Year Movies appeared beautifully, Feng Xiaogang's New Year Movies created a miracle at the box office, has brought hope for the prosperity of the Chinese film.The second part discusses in detail the comedy artistic characteristics in Feng Xiaogang's New Year Movies, analyzes the reasons for its success. On the one hand, it analyzes Feng Xiaogang's New Year Movies'comedy art from six aspects: the little guy's fun,the parody and other post-modern comedy form,the materials selected,a variety of artistic practices and the game nature. On the other hand, makes analysis the innovation and transformation of Feng Xiaogang's New Year film, including to grasp the theme of the city, to shows the real life on the assumption, to construct oriental culture and post-modern comedy factors.The third section focuses rational thinking on the Feng Xiaogang's New Year Movies phenomenon from the significance of the film Ontology. Firstly an important reason for the Success is his creative ideas of ontology. Feng Xiaogang really formed the audience-based and market-based creative consciousness in the deep conscious. The frequent challenges to traditional concept and the publicly appeal for reformation of the mechanism is positive and constructive for the development of Chinese films. Secondly the ontology of film mainly pay attention to building the Chinese film's localization and placed the national film industry and localization at the heart. Film makers need to combine own ideas,artistic talents with the requirements of the market, in order to create the local film industry in China based on the ontology.The fourth part concerns the breakthrough of Feng Xiaogang's films by the "mobile phone", "A World without Thieves" and "The Banquet": increasing the depth of the humanities instead of entertainment in his past films ,from the warmth and wit, humor, fun style of the light comedy to drama or tragedy center style. But the film business ontology of the creative concept is still the dominant restructuring its film. "A World without Thieves," is a successful commercial film breakthrough, and "The Banquet" as a continuation of this transition and sublimation, injectes more personal creative style in large inputs.The concluding part reveals that, in such an times with combining various cultures, people will gradually placed popular culture to a new level for research. Feng Xiaogang is a trustworthy commercial director, the films has already become an effective strength that can compete with overseas films .Relying on the performance at the box office in the recent years , its economic status and cultural values have increasingly been recognized by the Chinese film industry. But China-made films should occupy a more important position in the popular culture , and it should bear more important responsibilities. Therefore, in order to promot the development of China-made films, the summary exposition of Feng Xiaogang's New Year Movies according to the film ontology is valuable.