Legend Of Good And Evil Battle Of Light And Shadow

Since the early 20th century, gangster film, as a commercial type which has strong audio-visual impact and combines elements of adventure, detective and action, reinforcing the technology of computer graphics and film editing, has become one of the most popular genres among the audience. In the case of gangster films of mainland China, however, neither the early detective movie nor the seventeen-year anti-spy film makes the domestic gangster film a mature commercial genre. Since 1980s, with the transition of domestic culture thoughts and the rising of commeredia film, mainland gangster film has experienced a process of outset, resplendence, dire straits, and reborn. This article attempts to deal with the research of mainland gangster films since the new era in the film creation history longitudinally and transversally. It not only focuses on interpreting and analyzing gangster films in terms of the film genre theory, but also tries to explore how the native culture and the traditional aesthetic psychological limitation influence the creation of gangster films. Besides, this article compares the works of gangster films since the new era with those produced in the Hollywood or Hong Kong culture background and mainly discusses the systematic factors and the power of culture limitation hidden behind such kind of difference. This article consists of three parts: introduction, text and conclusion. The introduction part will explain how the concept of genre films and gangster films transform; describe the form of gangster films in mainland China before the new are; introduce the meaning, the current situation of the research and the writing thought of this article. The body of the paper will be divided into three chapters. The first one will represent the reason of the mainland gangster film's rising and the contents of localization. The second chapter will mainly discuss the combination between the narrative style of mainland gangster films and traditional gangster elements. The developed art-form of gangster films in Hollywood and Hong Kong will be viewed as a comparison in the third chapter, in order to explore the culture differences and art traits presented in the gangster films in these three areas. The conclusion part will make a further study on the challenges and opportunities which mainland gangster films will encounter in the present film market and film culture background, expecting that mainland gangster films will be guided by a mature and ordered culture strategy and move towards prosperity indeed.