Aesthetic Characteristics Of The Chinese Contemporary Ethnic Movies

The China contemporary ethnic minority subject matter film is an important component of the contemporary film of our country, ethnic minorities involved are numerous. Ethnic minority culture possess one's own uniqueness, the uniqueness among regarding culture of ethnic minority as ethnic minority subject matter film to shoot target inevitable reflection. The purpose herein is that the with unique film aesthetic characteristic to subject matter of ethnic minority is summed up and summarized. Analyze, in era develop, ethnic minority subject matter film aesthetic characteristic change of taking place. So, this text will go on dynamics to analyze to the aesthetic characteristic of the contemporary ethnic minority subject matter film of our country. This text divides the contemporary ethnic minority subject matter film of our country into three stages. The first stage film is the continuity of ethnic minority subject matter film in " 17 years ", strong for ideology color, most of creators in chief of film are the Hans, usually take the culture of ethnic minority into consideration with the visual angle of the Han nationality, and because of the influence of the environment of era, works these serve as era annotation explanatory note person of policy and nationality merge big linguistic context lay Chinese culture build persons who construct actively mostly, the image language is outmoded, worship film aesthetics of the montage; The narration mode of the second steps film text has surmounted past national integration, national unity mode, ideology color is desalinized, the creator in chief of film with cultural main body identity of the Han nationality does not hesitate to attempt to get rid of the visual angle of the Han nationality, but still unable to makeover and regard culture of ethnic minority as and take the awkward situation of the object into consideration, because the so-called internal eastern doctrine was still continuing in the colonialism theory hereafter, the ones that still exist to the culture resources of ethnic minority are deprived, the mirror image language is rebellion of film aesthetics of the montage this stage, emphasize the model, practise long lens aesthetics. The third stage of our country film commercialized process enter ripe stage, ethnic minority subject matter film text characteristic combine with unique behavior content with type of commercial movie, weave the culture, life, spiritual idea, religious belief of ethnic minority into to the type family movie, go on, help enlarge, deletion, means of covering etc. to gain audience by art of film unique stitch technology to ethnic minority life state of people, has already made the wonder result, the vision of satisfying the audience is consumed, the pure localization film original ecological film appears at the same time, For reduce national culture this originally real appearance, the film make every effort, record ordinary life, people of ethnic minority, truly, carry on strong dialing to the visual consumerism of the ethnic minority subject matter commercial movie instead, embody the strong aesthstic characteristic of documentary film.