A Study On The Aesthetics Of Screen Violence In The 1990s

Violence Aesthetics is a significant subject in film science, of which drama charm not only depends on attractive, exciting and bloody form, but also relies on emotional catharsis from the pressures in the real world during the watching. In the blooming conversations on film science, "What is Violence Aesthetics" or "whether Violence Aesthetics is beautiful" becomes a main topic during the past researches. This paper explains the perspective of "Violence Aesthetics" from the concept of film science. And through the diachronic reading on screen performance and development of violence since it was born in more than one hundred years, the author completes an intergenerational division of "Violence Aesthetics" on screen. In order to study on the performance of Violence Aesthetics in screen, this paper analyzes the sense of ritual forms and the implicit psychological mechanism in the different types of films for the violence combining with the method of film type of criticism. According to the method of study on the types of film criticism, the author selects the United States, Hong Kong, Japan, three countries and regions of the types of films as research objects, conducting the research by means of the interpretation of macro living context and micro film text on "Violence Aesthetics" movie type screen in 1990s.First of all, the macro living context determines the survival soil of different national film culture. On one hand, the ecology of screen "Violence Aesthetics" in 1990s shows the communication of different film cultures and the fusion of film type in the trend of globalization. On the other hand, different countries and regions of the film industry, science and technology and the national culture determine the evolution of film type. Through data statistics, this paper reflects the changes in the structure of film industry, which influence the change of industrial environment will inevitably affect the decline of some types of films and the popularity of some types of movies.Secondly, the interpretation and classification of micro film text reveal the form of sense and deep psychological mechanism of different types of films on "Violence Aesthetics". Film type embodies certain narrative practices, which will finally form a mature type of film. And for the screen "Violence Aesthetics", it is a formalism exploration and digging on various violent skills in the martial arts and gunfights. From the psychological mechanism, "Violence Aesthetics" rooted in the human primitive attacks instinct of the so-called "death instinct" in Freud theory, which borrows the violence imagine of construction scene in screen arousing the pleasures with devastating attack force from the limit of body movement function, in order to solve and release the spiritual crisis from the real world."Violence Aesthetics" is not only in line with the lens of Film Ontology, but also a kind of aesthetic ideal "Utopia". Furthermore, it is a kind of film extreme expressionism and entertainment image expression. Based on this, this paper attempts to research on screen "Violence Aesthetics" in United States, Hongkong and Japan which have made an outstanding contribution as the regional geographical spaces. These conventional types of film cover the 1990s’ theme of violence in a globalenvironment are also very influential.Finally, despite of conventional movies, this paper will also put the violence elements which appear in animated film and disaster movie into the research system. From the narrative conventions of film psychology and film aesthetics, the author explores the hidden conventions of the"Violence Aesthetics" image in 1990s, and try to restore the whitewashed humanity of desire and the taboo by film languages.