Chinese Contemporary Postmodern Photographic Filmlanguage Studies

With the development of late industrial society, as a cultural trend of thought of postmodernism and spread worldwide, post-modernism has no depth, no center, anti-authority, emphasize not just thought and the paradigm of bondage, continuous innovation and many other characteristics. Television the most infectious form of art, it is the essence of entertainment, replication and reproducibility and postmodernism culture characteristics, so the relationship between film and closely after modernism. Post-modern culture reflected in film art. Postmodern film after half a century of development and change, its cultural identity has been gradually established. Modern art is the combination of science and art, postmodernism film photography language is the photographer in the camera help on photographic techniques and skills, flexible use, according to the aesthetic standard of photography and its own characteristics, reflect people’s social life and the nature of the phenomenon, visual art forms to express the thoughts and feelings of. Since the reform and opening up, the development situation of the field of film and television is good, also study Chinese film photography also have good situation, though not a lot of theory of our country in the field of film photography itself, but to rely on the efforts of modest to learn from advanced countries and according to the actual conditions of China, language and new methods in recent years are also constantly created. Therefore, it is necessary from the postmodern perspective, analysis the photographic language of modernism and contemporary Chinese after.In this paper, in the modern perspective, analysis, case analysis and comprehensive analysis are used in the literature, analyzing the language of film photography. First from the postmodern main production, China photography language development now analyzing; then the influence of modernism of Chinese film and television photography language described; then, Ning Hao’s Crazy Stone is looked as a case, to analyze the features of photography language from a postmodern perspective; shortcomings into and the language of modern film photography there are discussed, and the problems, solving strategy.This thesis is divided into six parts. In the first part, the main content of the research background, significance, and the research method is introduced. The second part focuses on description the relevant theory of modernism and film photography language, as a cultural trend of postmodernism has great influence on the film language, and film language has formed its own characteristics. The third part is the analysis of the impact of Chinese and foreign postmodernism film development language of photography, photography language changes not only reproduced the traditional impact, at the same time photography language show a wide range of viewing the possibility, from static to dynamic, from the macro photography to microscopic photography, from real image captured image capture, thus breaking has been rule focus perspective or panoramic gaze photography. The fourth part from the language of modern film photography actual payment, to Ning Hao " Crazy Stone were analyzed, including the three-dimensional structure of modern photography, language, postmodern photography language fragmentation, postmodern photography language montage editing techniques, modern language of photography of two value deconstruction. In the fifth part, problems of language of modern film photography are analyzed and solutions. Due to the influence of photography itself uncertainty and postmodernism contradiction on the photographic language, the language of photography is still uncertain; the lack of style of photography language at the same time. Therefore, to enhance the authenticity of the parallel development trend and traditional photography language, increase the photographic language innovation, searching for creative media more.