Research On Feng Xiaogang Tragic Movie And Aesthetic Ideal

Feng Xiaogang directed a film works, and gradually established himself in theChinese movie circle leader position." A and B"," Be there or be square"," Guru" andother films by the audience favorite, Feng Xiaogang film extends Chinese film marketcomedy range, but also the creation of Chinese characteristic " celebrate the new yearpiece" mode.When people become familiar with Feng movie comedy style, he himselfdid not stop the pace of progress, but on his art creation for the innovation andpioneering, director to try great tragic theme.Such as" the banquet"," assembly","Tangshan earthquake", some thought-provoking, some copy from rolia.These areknown as powerful film, thought and ornamental reach a new height.According toFeng Xiaogang from more than10years of style formation and transformation, arepresentative of the Feng Xiaogang’s tragic film analysis, combing the film ’s artisticstyle and characteristics of narrative analysis, this kind of movie theater of aestheticideal, effects and social effects.The introduction part mainly introduced the cause of writing, Feng Xiaogang’stragic research status of the movie, as well as the study of meaning. For Feng Xiaogangnumber tragedy color highlight film, no one has yet done the whole analysis and thediscussion, has certain research value. Body part consists of five chapters.The first chapter of Feng Xiaogang’s growing experience analysis of the filmbefore and after the period style difference, summed up its previous work with comedystrong, drawn from reality, commercial distinguishing features. Since2005, he tried tochange the movie’s theme and style, gradually from a comedy celebrate the New Yearfilm director into a plurality of selection diversity and technique director.The second chapter of the director Feng Xiaogang’s tragicomedy and typical tragictheme and the content were analyzed in detail. Feng Xiaogang in his tragicomedy in acombination of tragedy and comedy elements, joy in sorrow, not only makes one laugh,but also inspire people to think more realistic society. Typical tragedy embodies Fengmovie style of great changes, the film scene, tragic meaning.In Chapter III，summed up and summarized of the art of Feng Xiaogang’s tragic film style and narrative features: These movies have a strong realist style, focusedhuman caring, deeply tragic. Detailed in-depth detail director Feng skillful use of itstragic movie rendering, cool and objective emotional entry point to grasp civilianstheme, moved the audience with the story itself, in line with traditional Chineseaesthetic mental set. Feng Xiaogang transformation after applause still tragic film ofChinese social reality, the people and culture is full of care and alerts.The fourth chapter to Feng Xiaogang if the cadre tragic movies for example,expounds Feng Xiaogang s tragic film aesthetic ideal. Aesthetic ideal of the ideal andthe reality can be used to measure and evaluate the life and art of beauty and ugliness,truth and falsity, good and evil. Feng Xiaogang, the aesthetic ideal of the individualinto the film, so that people feel the desire of human nature can not be forgotten, butalso felt in the film emotional and rational from the different roles of the film, Sound ofMusic, the finite and the infinite unity.The fifth chapter analyzes the tragic movie theater effects of feng. This partsummarizes Feng Xiaogang’s tragic movie brings the audience’s expectations andreflection, and even to individual soul and the influence of society. The viewer in orreveal the truth, or grand narrative movie scenes felt sense of tragedy and sublimity,combined with the plot on human nature and the social reality generation thinks, causetheir attitude to life sentiment, pure heart. The audience in the laughter and tears to feelthe well-being of the world, understand the meaning of life.The last part is a summary of the full text. Feng Xiaogang rich and extensive artisticexperience enabled him to personal independence of conduct, self-break, in the moviethe tragic elements in joy, sorrow, sorrow and in meditation, the discerning aestheticorientation in his movies to break through the traditional, truly become a popularaesthetic culture and film combination of art, won the audience agreed and love.