Research On Video Image Of Cao Cao

In Both historical discussions and artistic fictions, Cao Cao has always beencontroversial. During the past1,800years history, or even longer, Cao Cao alwayslives in scripts, including fictions, poems, dramas, but the most impressive Cao Caomust be found in Luo Guanzhong’s work——The Romance of the Three Kingdoms.This Cao Cao wears several faces, one is fraudulent, one is mighty, one is wretched,one is stern. In readers’ selective memory of the story and the characters, the evil CaoCao catches everyone’s eyes, so he is called “traitor with a white face”. As the publicperception has been gradually weakened, the audiences get in touch with culture andhistory by films and TV programs, so there is a lumbersome burden on programs’shoulder of disseminating culture and history. This thesis will talk about Cao Cao’svideo image, and find out the new way of expounding historical figures in film andTV art.This thesis consists of four chapters. In chapter one, Cao Cao’s images will besummarized, and then discussed in historical images and literary images separately,which are closely related with Cao Cao’s images in film and TV programs. In chaptertwo, there are36film and TV programs listed, which include Cao Cao, and the authordivided them into “three stages” for elaborative discussion. After that, the author willfind out that the programs in different stage shape Cao Cao’s images fundamentallydifferent. In the section two of chapter two, some film and TV programs are chosen,for deeply studying their Cao Cao’s images from external image and internal qualitytwo respects. Then the differences and common points between insides and outsidesof the character will be found through comparison. In the chapter three, The ThreeKingdoms directed by Gao Xixi is chosen as individual case for analysis. Based onsummary of trichotomy proposed by American film theorist Jane Wagner andquartation proposed by Chinese film and TV art specialist，the author find out threeways of Cao Cao film and TV image adaptation in this TV play：one is “transplantadaptation”, one is “derived adaptation” for enhancing story dramatics, and one is “decuctive adaptation” for featuring modern ideas. In chapter four, the author talkabout the changes of Cao Cao’s film and TV image on cultural level, from “traitorminister”, to “arch-careerist”, and finally “ambitious person”, which are due todifferent social and cultural effects of different periods. Then the author points outthree elements of modeling Cao Cao’s image successfully in new century film and TVplays. They are the expression of the social and cultural image, the visual presentationof heroism and civilian perspective of film and TV narration. At the end of the chapter,some “partial losses” existing in the film and TV creation of Cao Cao’s image will bediscussed to get the conclusion of the three principles of film and TV creation ofhistorical figures image. Firstly, historical performance should base on history;secondly, the typical image with proper interpretation should be shown; finally, thecontemporary concern when discussing the history.The adaptation of the literary works has always been new for a long time. Thisthesis, through in-depth analysis of the film and TV image of the household character,Cao Cao, attempts to reveal some basic rules of historical figure creation in our filmsand TV plays with historical theme. The author will summarize and generalize therules as far as possible, with the hope of improve the portrayal of the historical figuresin the films and TV plays. It is a long way to go, so let us work together.