| As one of the pioneers of the sixth-generation directors, Lou Ye has frequently appeared and got rewarded in the International Film Festival recently. In2006, Lou Ye brought his work<Summer Palace> to the59th Cannes International Film Festival without SARFT’s permission. After that, he got punished by a5years’prohibition of film. Right now, five years has passed, Lou Ye and his new works are released and see the light of day once more. After the lifting of the ban, his works are bound to attract significant attention. Moreover, accumulation of image text and stable morphology makes it possible to have a general review of his works on the characteristics of ideology and style.In this thesis, there are three parts for discuss Lou Ye’s feature films. In the first chapter, basing on the "the sixth-generation directors" background, evolution which is embodied in the modern consciousness from "fifth-generation" to "sixth-generation" is discussed. Moreover, Lou Ye’s remarkable significance of his works—"aesthetic modernity", which makes his movies different from the other sixth-generation directors’, is investigated. In the second chapter, according to the theory of aesthetic modernity, the features of ideology are discussed from three aspects:individual consciousness, urban consciousness and reflection awareness by analyzing the specific image text of his. In the third chapter, modality of aesthetic modernity of Lou Ye’s works is studied as well. In this paper, by using the theory of narratology, Lou Ye’s narrative strategies and techniques are specifically addressed in image, voice and scene, thus further his overall narrative style is concluded——perceptual poetic narration. |
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