The Fusion Of Art Film Aesthetical Meaning And Commercial Operation Of Fruit Chan's Film

Fruit Chan named himself as a Grassroots Director, who be famous as Made in Hong Kong screening in 1997, becomes to a representative of art film director in Hong Kong. This article researches the 7 films of Fruit Chan such as The Longest, Little Cheung, Durian Durian and so on, put the films of Fruit Chan on the art film of Hong Kong which affected by the background of 1980s'Chinese film New Wave. And it researches the art films of Fruit Chan which takes 97 Complex and bottom focus as Aesthetic meaning, be combined with commercial mode of operation. It made him success in the 1990s'when Hong Kong film slumping, and provides an example for the existence and developing of Hong Kong art film which falling into dilemma.This article considers that, on one hand, the films of Fruit Chan use 97 this history background to express the 97 Complex of confusing and missing identity when HongKong people faced to the Hong Kong's return. When Fruit Chan search and dismantling the culture of colony, through creating the mainland female, to the main hookers, and construct the opposition and exchange of binary identity between Hong Kong and mainland to metaphor the relationship of Hong Kong and mainland. On the other hand, the film of Fruit Chan use the manner of realism to show the real side of trail, poor and unknown of Hong Kong, the city with excessive wealth gap He uses the view of civilian to pay attention to the survive status of marginal who be in the bottom of society, with the serious and calm attitude to criticize the society.This article use the method of comparative literature, put the film of Fruit Chan on the New Wave innovation in Hong Kong film even Chinese film.It thinks the creation style and Aesthetic meaning of his films is different with the Hong Kong art film directors Yim Ho, Ann Hui, Stanley Kwan, Kar Wai Wong and so on in time of New Movie and Post- New Movie. In contrast, the style of Fruit Chan is the same strain with the Sixth Gennration directors from mainland such as Zhang Yuan and Jia Zhangke in 1990s'. Add to his independent made manner that small cost, non-professional and be the exhibitors in abroad is the same as Zhang Yuan Mode, it explains Fruit Chan take huge attention and study to the mainland new generation directors.This article puts the film of Fruit Chan to a issue to research, trying to dig the fusion between meaning pursue of art films and operation mode of commercial films, from the important feature of the closely 97 Hong Kong's return in his films, and the Hong Kong city image, Hong Kong aboriginal and new immigrant that he creating, and take a overall carding to the outstanding style and theme content of the films of Fruit Chan.