Tsui Hark 's Film From The Perspective Of Body Aesthetics

The art world in contemporary films, Tsui Hark the name is a can not be ignored. As a former visiting the west, has certain western culture background of the Chinese director, the film and television works into the western movies a lot of cultural factor s, eliminate the barriers between the eastern and western cultures, with gorgeous rich colors, fashionable bold ideas, first-class technology and unique "of the style, unique in the mixed Hong Kong film industry, also has won worldwide reputation.Body aesthetics is in recent years the rise of a branch of the postmodernism, is a kind of by using the basic ideas of aesthetics, to the body as the research object, subje ct and object). As a new art form, film and television art push the aesthetic research a nd application of a new stage. In fact, in the Tsui Hark film, body aesthetics renderin g is everywhere.From the early "the ghost horse g-star," Faber oddity pixie, then "green snake" maggie cheung in the movie the graceful, again to the rhythm of Huangfei hong2, an d in recent years, production series of films, the exciting show of the body, we can se e that the "body" is almost one hidden line, Tsui Hark film narrative for the movie hel ped push. Therefore, in a certain extent, the presentation of the body, in the movie dir ectly about the film’s success or failure, is a director of aesthetic thought. And for the evaluation of film appreciation process, caring for the "body" this image and interpret ation is especially important. And with the surge of the postmodernism, rational body replaced by perceptual body, the individual life to obtain the unprecedented liberatio n and self-actualization needs, which makes the film art and the reality of the body, h ave the time and space on the possibility of the intersection and put in the same syste m research.In this paper, by using body aesthetics research results at home and abroad, especially the schumann, body aesthetics point of view of icon and Nietzsche’s will to power on the body aesthetic theory, Foucault and others about the thought of the body and the body aesthetics based on medical point of view and technical point of view of body aesthetics such as aesthetic theory, respectively from the bondage of the present forms of the body, the body and break, the relationship between the body and the will to power, the ownership of the body, etc., of Tsui hark film presented to study the characteristics and structure of the body, and finally concluded that the early works, tsui hark body awareness is relatively weak. Despite its through the most advanced special development and presents the expression of the body, but the present is still in the unconscious state, is a primary attempt, so a bit stiff and excess; And the middle is the key of tsui hark work body consciousness awakening period, the rendering of the body also has broken the original dilemma. In special effects and the combination of the body was more adept, nature and properly, the body aesthetic effect more plump, and reach a higher level, thus make the "green snake""series" new dragon inn "a batch of classics such as" smile the a river’s lake ", formed its own unique to its transformation, lifelike, behave properly, imagine rich aesthetic style; In recent years, tsui hark film has played down the body, to place it in a larger context of space and time to carry on the expression, especially the use of special effects, and more nationalization and high standardization, body aesthetics on the rendering of more commercial. But too pays great attention to aesthetics effect brought by the technology, made him lose their original on the narration of the plot and physical performance of some advantages and characteristic.