Theory Of Spanish Movie "flamenco"

Flamenco is the symbol of the Spanish nation passionate, courageous spirit. Form of art inSpain, Flamenco and Bullfighting are often used to express the emotional appeal of the character.Flamenco not only fuse the artistic elements of dance music, but also has the same function-structure plot as drama, and therefore subject to the film’s favor. Compared with the traditionaltheater, flamenco has more enthusiastic to express their feelings in the body language, anddancers pour their religious beliefs, pursuit of happiness, fear of death, on the fate of the unjustanger and desire for love in the song and dance. Such a strong appeal has penetrated Spaniards’blood, with their thoughts and feelings along swimmingly, germinal each other, and become asteady stream of artistic creation power.“Flamenco” complex in the Spanish film not onlybecome a narrative strategy, but also a good sets layer structure composed of the story carrier and"realistic" scenarioe in the movies, so that audience generat confused sense and can not tell thedrama off screen, even completely immersive.This paper is divided into five parts. Firstly, starts from the origin and development ofFlamenco, spiritual content, external form, then discusses her fusion with Spanish film, andanalyzes her surface meaning as the external narrative form, after that dive into the deep valuesin the performance of figures emotion and expression of the director intention. This articlediscusses the Spanish film through taking Carlos Saura’s "Flamenco Trilogy" for instance, andcombines with other directors’ films, to refine " Flamenco" as a movie complex. Then try toreveal the national identity and unified aesthetic form lurking behind of Spanish film. Finally, tryto explore a way for the revival and prosperity of national movies by juxtaposing thedevelopment strait of Spanish and Chinese’s.Flamenco make a veiled expression about long-lasting human nature and theme to theviewers a few centuries later with its gorgeous appearance. Directors also took advantage of thisto wrap their expression demands and exploration in the form of the performance. Whether in theshadow of political pressure, or wanting to release the reality depression, or exploring the art offilm itself,"Flamenco" complex are carrying too many Spaniards’ both good and bad. Similarlyversa, our long history and splendid civilization provides us with a rich artistic wealth which includs outstanding national films. However, we have lagged behind in the process of nationalcinema to the international, despite there is a similar problem in Spain’s. This article willeventually want to explore the national film promotion. It demands in addition to the integrationof national traditions and modern imaging technology as well as common human emotions, alsothe market capacity and the culture of the audience of national film, still parties issuer, nationalcinemas, research institutions, and many others’ joint efforts. Only in this way can we truly takeour national films to the world.