Aesthetic Style Of Jia Zhangke Film Study

This thesis focus on the aesthetic style of the films directed by Jia Zhangke, which I made a classification and an analysis here in the thesis. Based on the iterating Jia's characteristic way of film representation and narrative style, I collected the process of development of aesthetic style of Jia's films and its substantial particularity. Further on, I traced every detail to find where Jia's aesthetic style originated. Then I classified Jia's films as one kind of the Author Film, according to its aesthetic style, and finally I discussed the position and future development of the Art Film, which including the Author Film, in domestic film market.The first chapter of this thesis discussed the aesthetic style of Jia's films. This chapter is the most important discussing part of this thesis, as well as the base of the next two chapters. According to the film's timetable, the first chapter tried to find out the different aesthetic styles of Jia's films, as the roughness style in"Xiao Shan is back"and"Xiao Wu", the civilian epic style in"Platform", the freely teasing style in"Unknown Pleasure", and the bop style in"The World"which once bravely appeared in"Xiao Shan is back". And then I summed up the substantial characteristics of Jia's films. We can see Jia's emphasis on film audio on the language aspect, his attention to the living state of brink group on the motif aspect and his insist on the on-the-spot record aesthetics on the whole aesthetic aspect. Based on the analysis of every detail of the aesthetic style of Jia's films, the second chapter discussed where originated this style. I tried to find the aesthetic theories and directors which greatly influenced Jia's style during Jia's early years in school and later in his direct life. I mainly discussed the Bazin on-the-spot record aesthetics, and the aesthetic ideas of Yasujiro Ozu and Hsiao-hsien, which influenced Jia most in his films. I also find Jia's own original creation besides his imitation and absorption. The last chapter is a thinking about Chinese Art Film, which including Jia's films. At first, I classified Jia's films as one kind of the Author Film, and then I concluded the struggling state of the Author Film, of which Jia's films is a good example as the Art Film. Finally I discussed the market position of the Art Film and its future development in the domestic film market.