Jiang Wen’s Pursuit Of Film Aesthetic

Up to now, Jiang Wen, as a director, has made a total of4movies:In the Heat of the Sun (1994), Devils on the Doorstep (2000), The Sun Also Rises (2007) and Let the Bullets Fly (2010) and so on. The box offices maybe undesired. As long as the films are being directed by Jiang Wen, the films will be given warmly popularity and endless controversy. With the development of Chinese movies, traditional intergenerational classification method has not met to the multinational Chinese films market. During this time, Jiang Wen becomes the dominant force in Chinese film market with his unique charm.Early analyses of the film were mainly reference to the method of literary criticism; so many literary theories were always used for analyzing film texts. With the development of film art and film industry, it is becoming more and more urgent to build the film itself perfect aesthetic system. Analyzing films by film’s own theory is becoming an important way of film criticism. Given the own language grammar of the films, the ability of reading film text is almost becoming the basic literacy to film studies.So the method which based on film theory ontology to analyze Jiang Wen’s films can help to improve the onto logical and professional of Jiang Wen’s films and has great significance to enrich Jiang Wen’s film studies. The research attached great importance to peruse the film text and was based on the film aesthetics, has also provided a reliable basis to further explore Jiang Wen’s films.This paper to peruse Jiang Wen’s film text includes three parts:The first is the narrative aesthetics.As the cinematic narration has attracted more and more attention, now it just becomes one part of the movie content. Narrative is not just movie content rendering, but is the way to know the movie text and the relationship between filmmaker and film audience.Researching the choice of narrative pattern, narrative form and narrative perspective in Jiang Wen’s four films can provide us the most direct text basis to know Jiang Wen’s narrative aesthetics, and to know his innovation and rebel against in cinematic narration.The second is scene aesthetics. Cinema scene is the language of the film, and develops its system. The cinema scene language of the film includes many aspects, such as selecting the pictures, setting the view, shooting angle, moving scene, shot lengths, lighting and so on Cinema scene is crucial to render the atmosphere and narrative.Jiang Wen’s scene has its own consistency, distinguished and outstanding. Even he choose different photographers, he will require the photographer to shoot, arrangement and connection according to his own preference, such as the use of the montage. Montage is the typical theory in the scene rules, is the great part of film text and also is the most basic foothold to know a film.The third is aesthetics of music.All along, music is thought to be the strongest sense of art forms contrast to drawing, literary and other art categories. It can instantly evoke the audience’s sensory. Film, as a kind of synthetic arts, naturally absorbed advantages of music aesthetic. Music in the film is often presented accompanied by scene appeared, so music plays a great role in a film.As the independent significance of the film music is widely recognized, film music is no longer just emotional rendering tools, and also shows values in the cinematic narration, film ideographic, and even in the symbol of films. In Jiang Wen’s four films, the choice of film music has obvious orientation, some music elements are repeated emergence. So researching Jiang Wen’s film music spectrum is undoubtedly an important way to understand Jiang Wen’s film aesthetics.Further discussing the reception of Jiang Wen’s films on the basic of reading is becoming more meaningful. The analysis of Jiang Wen’s film text in the preamble, already has a thorough understanding about the aesthetics of Jiang Wen’s film. At this time, it becomes logical to discuss the promotion or inhibition of Jiang Wen film aesthetic to his reception to what extent.Although reception aesthetics was learned from literary theory, it emphasizes the audience’s reception thinking and pays attention to the philosophy explored through the social culture. It has a natural appeal for film studies. In this modern time, film as an art also has the property of the goods. Today the competitions between the movies are not only on the artistic level, but also on the business value. Box office becomes one of the standards measuring films. Commercial movie is the extreme embodiment of pursuing the commercial interests.No matter the situation of the box office in Jiang Wen’ each film; his films will raise widespread concern and discussion. In terms of acceptance, Jiang Wen’s each film has the value of research, and as the one of China’s most influential director, his films not only stay in aesthetic category, but also rise to the category of social culture.In a word, Jiang Wen’s films have an irreplaceable significance for Chinese film. Today the films are becoming more and more commercialized; Jiang Wen maintains his own aesthetic view to continually give the audience one and another film works. No matter the market fate of these works eventually, Jiang Wen is great. It is unknown that Jiang Wen can insist on his own aesthetic view to what extent or the boundaries of Jiang Wen’s aesthetic view in inside and outside film-making environment today, but the author believes that Jiang Wen’s some "maladaptive" seemingly anachronism, are precisely his great decisive factor to become successful.