On The Comedic Style And Aesthetic Sense Of Stephen Chow's Films

Stephen Chow and his movies are well received and full of dispute. This cultural phenomenon can't be ignored in the contemporary mass culture. Stephen Chow's performance with his unique style of performance initiated a type of comedy with his unique style of " loony tone ", whose popularity has already lasted for more than 20 years. His movies are deeply welcomed by the public, often being the top of the box office. At the same time, he is also soughted after by college students and even employed as a visiting professor in some universities, so his influence and popularity proved to be great. Compare with the public's extensive attention and warmly welcome of Stephen Chow's films, the academic and theoretical circles have not yet paid enough attention to them, which have been abandoned at the edge of the academic areas. In the author's opinion, Stephen Chow film can cause that much influence is not accidental. The emerge of "Stephen Chow phenomenon" must has some cultural background and cultural connotations which worth studying, therefore it is necessary to do some academic and in-depth study of it. In order to facilitate our understanding and make proper evaluation of his films, this article attempts to do some analysis of Stephen Chow's films from aesthetic point of view, using the theory of defamiliarization, deconstruction theory, theory of tragedy and comedy, etc. The thesis is divided into the following three parts.The first part is mainly based on the modern social context to explain Stephen Chow's films. Stephen Chow's"loony tone"comedic type has a great relation with his personal experience. Stephen Chow grew up in the grass-root class, so he know the living conditions of the grass-root people from the hardships of rough life. Although he comes from the grass-root class, but Stephen never give up his dreams. He eventually became the "King of Comedy" of today's Chinese-language film through his untiring efforts and struggles. Stephen Chow has palyed in a total of more than 50 films since 1988. In his long-term acting career, Stephen Chow's " loony tone " style of performing has been gradually recognized by the public and brought out the celebrity's appeal, so the " loony tone " style become the symbol of his movies. However, " loony tone " is not just funny, the funny thing actually implies a profound cultural connotations. Through the odd funny "loony tone " way of expression, his films convey his profound thinking of modern circumstance.The second part analyze the narrative features and style from the script of his films. The author have selected the four main features to illustrate. The fist part is that he express serious topic in a jocose way. In traditional films, serious topic often illustrate in some serious formal, solemn ways. However, Stephen Chow changed this traditional way of expression and express serious topic in a jocose way, so that the audience can not only enjoy the funny acting but also sublimate their thoughts. The second is about the unique narrative method and dialogue. In the narrative, Stephen Chow often abandoned the traditional narrative rules, broke the norms of traditional creative, bold deconstruction of the original structure and narrative logic works, which described the things beyond the audience by surprise, and there are many circumstances and details of the divorced text, but also makes the various parts of the text shows fragmentation and strange features. In the language and dialogue, the Stephen Chow film mainly for the "loony tone" language style which he is good at. This language style is characterized by incoherent, jumping great, the surface does not seem meaningful way, in general, constitutes a reversal of the original order and rebellion, the original meaning of the language of deconstruction have been fragmented. The third is the deconstruction of the classic,historical figures and famous works. Stephen Chow movies often offensive to the status of classics, including to parody classic literature, classic characters, classic films, etc., to "funny" way of the traditional or classic aesthetic order, moral order, and cultural order, and to tease and subversion. The forth is about the digestion of serious topics. Stephen Chow film has a "refuse sublime" characteristics. Traditional concept of the noble image in Stephen Chow movies are digested or ridicule in a vulgar face to appear in front of the audience. These four characteristics constitute a Stephen Chow film unique comedic style.The third part focuses on the aesthetic significance of Stephen Chow movies. Stephen Chow film aesthetic sense is reflected in three aspects. First of all, Stephen Chow film to the original meaning of a vulgar shallow "inconceivable" transformed into a means of artistic expression mean, therefore, Stephen Chow movie "inconceivable" that the original is no longer funny or stupid nerve Xi Xi, vulgar words at random, but carefully designed with rich meaning of artistic expression, his mockery of authority, ironic deconstruction of the classic and traditional way, so to "make sense" to the audience to become a aesthetic significance of aesthetic pleasure with a means of artistic expression. Second, a good grasp of Stephen Chow movies the audience to accept psychological, better use of the "strange" of the art method, deconstruction, subversion, diversification and "nonsense" and other means to make works in funny language characters , narrative, plot and techniques have had a strange effect of, the audience broke the original thinking inertia and to obtain more timeless aesthetic experience and a unique aesthetic enjoyment. Finally, Stephen Chow to express the tragic comedy of the content of his work expressed in the theme and content are serious, but funny way to express comedy, funny in this comedy can be there in the audience appreciate the difficult situation of the tragic modern connotation of survival, so that the audience in laughter for a moment and appreciate a sense of pain and heavy. This is a comedy to make his audience "smile and a tear," and his conscious pursuit of the aesthetic character, but also an active dig of the comedy film.