"adrift Means"

The history of Chinese movie has been over a century since the birth of the first film《Ding Jun Mountain》in 1905.With up and down during the period,the surprising appearance of the Fifth Generation directors' movies made Chinese films favorable at various international film festivals.Directors of the Fifth Generation were still keeping dynamic creativity until 1990s.However,a new social environment and social context demand a different movie form.At the historic moment,the Sixth Generation directors emerged.Films produced by directors of the Sixth Generation became known and grew up with caught by mutual interactions between so-called Racial Fable films by the Fifth Generation directors and massive Hollywood movies from the western world.From primary performance in the film community to developing into a unique school,the Sixth Generation directors have always been facing up to the social reality of present China,remodeling and exploring movies' narration structure and aesthetic spirit.They added fresh air to Chinese film and gained praises from domestic and international criticism circles.Based on the background of the Sixth Generation directors' emergence,this article applies a study method of theory going to text analysis and text analysis back to theory integration,combining both culture analysis and vision studies.In the category of technique application and art concepts,the article centres on the word "diversity" that was introduced by the Sixth Generation directors in the context of globalization,and culturally explores the forming,evelopment and current creation of the Sixth Generation directors.The article puts more weight on the analysis of the Sixth Generation directors' diverse expressions of theme,structure and style in their movies.In terms of theme,they focus on growing stories,city pictures and "edge groups",making a record of a language-privatized world in their unique view.With regard to structure,on one hand,affected by the documentary aesthetic of Bazan,they adopt such documentary practices as long shot,mobile movie,and on-the-spot audio effects into film shooting;on the other hand,influenced by ideas of modern movie,they also incorporate postmodern film-making techniques into text writing skillfully,including composed-paragraph narration,open ending and skipping editing, etc.As to style,films of the Sixth Generation directors not only inherit documentary traditions but also incorporate deconstruction style,which blends extremes of realitism and postmodernism and presents an "erratic signifier".Finally,associating with the context of reality,the article predicts opportunities and challenges faced by the Sixth Generation in the future,and puts forward responding strategies, expecting it could promote the development of Chinese movie to some degree.