The Bottom Layer Of The Present Chinese Film Narrative Research

The1990s with the development of reform and opening-up, China’s social development presents aseries of stage characteristics. Meanwhile, social stratification rose and various underlying socialissue emerged. In order to bring people’s awareness to these social problems, allowing the “silentmajority” to be heard, the film industry focused on the underlying narrative narration; films weremade to project the everyday living perspective and the difficulties faced by underlying narrativecitizens of China, which allow it to become the epitome of the field of cinema. This paper fromthe the film narrative point，The propose of this paper is to sort out and analyze the basic strategyof the contemporary Chinese film underlying narrative. While studying of the director to thefilm’s emotional projection and giving to the film’s sense of realism,With the film’s narrativefunction and visual advantage,return to the esne and the underlying life,as well as directors’emotion projection toward humanism, thus influence others to focus on these problems of theunderlying narrative.This article consists of four sections. First section illustrated on originate of underlyingnarrative, underlying narrative two expression patterns, and influence of underlying narrativenarration on China’s society, economic, political, psychological, social background and culture. The second section emphasize on the narrative strategy of dimension. The film’s narrativeideographic mechanism is dismantled and used as the foundation of the underlying narrativecontent, viewpoint, time and space, and structure. Combined with examples, the article firstfocused on the film’s interpretation of survival and stress, wandering and confusion, preserve andforgo. Secondly, the article discussed on the three different point of view methods promoted inthe film. Third, in terms of narrative time and space, proceed from the confusion/realistic timeand a rough/fictional space, reflecting the innovation of the film. Finally, from the prose of thenon-plot-structure and uncertain open structure outcome, try to explain different structuralconcepts compares with conventional film structure.The third section explored the creative aspirations of the director from the external aestheticstyle from subversion of the image for the city, small town life, and description from twoangles;inspiring underlying narrative aesthetic. Also emotional projection of aesthetic style andemotional stance of the director, divided into the personality emotional projection and commonprojection of others; which allowed discussion from a different dimension to interpret thedirector’s creative demands of similarities and differences.The fourth section discusses the denotation and limitations of underlying narrative films.First, the article emphasize on the revelation of the underlying narrative to society and influenceon future movies, discuss in depth on the core of spirit of the underlying narrative’s social psychology tendency; thus find a suitable development path for these films. Secondly, to focuson the existing problems from three aspects of reality, aesthetic and market cut into thelimitations and deficiencies, allowing development of better underlying narrative films in thefuture.