The Records And The Revealer Of The Change In City Life

The present research studies the five films directed by Jia Zhangke. In terms of the development of the artistic expression of the films, the current study examines how the director records the survival state of the urban people in the transition period and provides the fresh, dynamic comprehensive records and artistic expressions for the society. The present study also explores the characteristics of the structure and form, the artistic practices, the source of Jia' s films and their significance in the development of the Chinese film industry.This study consists of four chapters. Chapter One mainly discusses the special subject orientation: the focus on the certain region in transitional society-city corner, the flow of the crowd-urban people. In addition, this chapter, through analysis of the specific characters in the films, presents how Jia Zhangke records the survival state of urban people in the transition period with the images in the films, and what kinds of fresh and dynamic comprehensive records and artistic expressions he offers in his films. Chapter Two makes it clear the thread of the structures and forms of Jia's films. From the perspectives of the temporal and spatial changes of the film, this chapter serves to analyze his five films "Hometown Trilogy", which include "Xiao Wu", "The Platform", "Unknown Pleasures", the come-to "ground" of "The World" and "The kind people in Sanmenxia". The constantly richness of the artistically developing tracks in Jia's films are displayed though the analysis of the factors for temporal and spatial changes in his films, and the development of his films from single structure to double-track structure as well as to a structure that is made up of even plots. Chapter Three discusses the sources and references of the techniques of expression in Jia's films. From the two levels of theoretical support and image technology and based on the specific comparison, this chapter analyzes the references, in Jia Zhangke's films, to the French New Wave moves represented by Bazan and Italian New Realistic films. Chapter Four offers the reflections on Chinese film industry triggered by Jia Zhangke's films. Based on the comparison with the fifth generation of directors, the present study displays the new experience and particular value offered by the sixth generation of directors with Jia Zhangke as the representative, and discusses the still existing limitations and the corresponding improvements.