The Realism Of The Commercialism

At the beginning of1990s, Zhang Yuan raised funds independently to make his first film,"mother", and at the same time, Hu Xueyang’s work,"childhood" won the Best Film Award atAFI(American Film Institute) Festival. Taking this as a symbol, the new generation of Chinesedirectors appeared in people’s vision gradually. They issued a declaration of the collective, whichhas showed that they have the courage to question and challenge and disruptive artistic ideas.Because of their passion and force, they have played an important role in Chinese movieindustry.Standing the forefront of rapid social transformation, the new generation of directors aimthe camera on the margins of society, the bottom edge of the city’s public and pay attention torecording ordinary characters and their real life so that they created a large number of valuablemarginalized films both in the field of art and social history. The realism movie, directed by thenew generation of directors, dialectically sublated the traditional documentary aesthetics, insistedby the fourth generation directors, that a film should be both real and beautiful, documentary andtypical. What’s more, they pulled Chinese movie from blindly relying on fable story and elegantcommercial movies made by the fifth generation directors back to realism movie, which hasrectified a deviation of Chinese movie. Accompanied by their outstanding artistic achievement isthe comprehensive bleakness in Modern Commercial Society, such as the sporadic guest, themeagre returns, even the effort to show these movies. To make a long story short, marginalizedmovie in commercial films can be described as the tide dire situation.This thesis attempts to clarify the intergenerational division, naming categories of thedirector of new generation based on referencing to the Chinese film development way of realism,explain the group characteristics of the new generation directors based on the historical andcultural environment they lived in, analysis of their marginalized technique on the basis of caseanalysis and research of their marginalized creation, explore the bleak issuance of the status quoof their works compared with the commercial film, excogitate the theoretical basis and factualevidence that marginal films are covered by commercial tide, and ultimately discover thedirection of marginalized film in the multiple cultural contexts.