The Genre Study On The Spring Festival Movie

The concept of new year movie was introduced into the mainland withJackie Chan’s Rumble In The Bronx in1995,Feng Xiaogang’s First Party AndSecond Party began the exploration of new year movie officially of themainland in1997.Through17years, the new year movie got rapiddevelopment which has become one of the most local characteristics of filmform, not only expanding the content and form, but also expanding the boxoffice. To watch the spring festival gala and see the new year movie havebecome the cultural consumption habits after1990s. But the surface ofprosperity on the new year movie could not hide the internal crisis, this crisisis mainly originated from the definition of the new year movie. For a longtime, the theory of genre and the movie schedule ended in a deadlock, itdirectly leads to chaos in the films, which is created by the uncertainty of thedefinition and the confusion of the concept between the new year movie andthe new year movie schedule. As long as it is around The Spring Festival hasbeen labeled as the new year movie. Academic research is becoming more andmore towards the external research, such as the industrialization and socialand historical criticism, there is no progress on the interior of the new yearmovie research. The current research on the type of the new year movie lackscomprehensive arguments. In view of this situation, this paper attempts toresearch by the theory of genre film and the study of diachronic andsynchronic. The huge impact and theoretical study defect of the new yearmovie determines the academic and practical significance of this research.In order to avoid confusing the definition of the new year movie, thispaper calls the genre of the new year movie instead of the spring festivalmovie, and mainly carry out the study of it by the way of genre from thefollowing three aspects. The first chapter mainly discusses the underlyingstructure of the spring festival movie: the culture of spring festival, thetradition to celebrate by movie and discusses how the culture of celebration ofthe spring festival infiltrates in movies forming the spring festival movie. Thepaper discuss it through three aspects: cultural connotation and characteristicsof the celebration of the spring festival; the reason of movie to celebrate thespring festival; the process of movie to celebrate the spring festival. The second chapter mainly discuss the genre sense of the spring festival movie inorder to form it, through discussing the genre movie and its theory to find thefundamental of it(the prototype), further to discusses the characteristics ofgenre on the basis of cultural prototype, namely the genre in the theme,character, the type of narrative, the form of background, audio-visual. Besidesthe genre characteristics, the spring festival movie also has the culturalcharacteristics on the aspects of theme, style, audience. The third chaptermainly discuss the value and meaning of the spring festival movie on culturalconsciousness, especially in inheriting national culture, deepening culturalidentity and national image, promoting movie industrialization.