Jing Jun B On The Rocks In The Film " Pure And Uptake "

In 1995, Shunji Iwai established his standard-bearer's position of "Japanese New Wave film movement" with a letter of "Love Letter", which thereby raised the discussions about "Iwai aesthetics". His film inherited not only the traditional Japanese aesthetic spirit but also the western aesthetic experience. Shunji Iwai's movie are abundant of aesthetic values, this paper are trying to do the research from its two chapters which is about the movie's aesthetic.Through the following four aspects "natural beauty", "things beauty" and mysterious beauty ", "Female beauty" and "death beauty", the first chapter in this paper discusse the succession of the YanJingJunEr film for the traditional Japanese aesthetics spirit. Firstly, as the Japanese aesthetic consciousness of the prototype, "Natural beauty" is very important in Japanese traditional aesthetics of position. "The natural beauty" includes the nature beauty and natural beauty of things. Shunji Iwai movie emphasize to appreciate beauty of nature and to respect the human nature, which are subject to the influence of traditional aesthetics. Secondly, the "content" beauty and the mysterious beauty are shown in "Shunji Iwai film. These kinds of aesthetic minds are inseparable from the Japanese traditional aesthetics. In the film, some of the characters recall old memories at familiar sights and others recall old memories at familiar things. The emotions which reveal naturally match with the traditional "content" "feeling. Because it inherited the aesthetic tradition "mystery", the characters in Shunji Iwai movie have the common traits of "feel", "introversion", and "connotation" etc. Thirdly, as a Japanese male director, Shunji Iwai film inherited the traditional Japanese aesthetic consciousness of "female beauty". Being different from other films, in his films it is shown more about the "male power" subversion. Finally, the Japanese attitude towards death is different from the other nation. They always appreciate and praise the death. Although Shunji Iwai inherited the above point of view, but in his movie it is also expressed the importance of life. In second chapter, by the three aspects of "picture beauty", "sound beauty" and "tragic beauty and comedy beauty", Shunji Iwai's experience deriving from western aesthetics will be studied. As a new generation of director, it is self-evident that Shunji Iwai was impacted by western aesthetics. Firstly, during his college, the major of painting which is chosen by Shunji Iwai play a very important role in his film. From his film, it is easy to find that both western painting skills and the characteristics of Chinese paintings are utilized in his film pictures. Secondly, through the use of music and audio, not only vision effect of film was expanded, also the richness of voice was joined with the abundance of pictures. Thirdly, although the traditional Japanese aesthetic has neither "tragedy" nor "comedy", Shunji Iwai applies the tragic mode and comedy mode in the western aesthetics into his movie.Shunji Iwai's works was labeled "beautiful" marks. Both of his novels and movies highlight a "beautiful" artistic conception. His aesthetic thoughts are based on the traditional Japanese aesthetics and the western aesthetics. Then the beauty of Shunji Iwai's film is formed by the convergence of these two aspects.