Research On Feng Xiaogang’s Comedy Movies From The Perspective Of Postmodernism

During1990s, the comedy film named "The Dream Factory" put the director FengXiaogang into the spotlight of the majority of moviegoers in the mainland of China.And now, with the series of his famous humorous comedy movies he produced later on,Feng Xiaogang has become one of the most important moviemakers in china, and atthe same time his movies have developed a kind of unique “band effect”. At present,the majority of the moviemakers in the mainland of china has regarded both directorFeng himself and his comedy movies as the model roles for them to learn somethingfrom them. With respect of it, this paper also tends to have a research on FengXiaogang’s comedy movies from the perspective of postmodernism, to reveal theunique characteristics of this famous film brand and the factors which contribute to itssuccess.This thesis is divided into six parts: The first part is the introduction, which gives abrief account on the significance and the background of this research, and what’s more,it points out the postmodernism perspective of this thesis.The second part mainly provides an analyses on the different contexts in which thepostmodernism features of Feng Xiaogang’s comedys have developed. It shows thatthe prosperity of the citizen culture is its cultural context and the great marketopportunity is its social context.The third part gives a relatively complete account about the three characteristics ofFeng Xiaogang’s postmodernism comedy movies, namely, game, complanation,diversification and commercialization. It particularly states that in the film industry of the mainland, Feng Xiaogang is the first film director to establish the concept ofcommodity economy, and he integrated the art and business with his film, making hiscomedy films show some kind of commercial characteristics.The fourth part analyzes several specific postmodernism manifestationscharacteristics of Feng Xiaogang’s comedy movie, namely collage pieces of the story,the narrative character of civilians, as well as carnivalesque humor and language. Allof those are the concrete manifestation of the postmodernism art of film-"Anti grandnarrative".The fifth part summarizes the success of Feng’s comedy film, and gives a simplegeographical explore about its inherent limitations. It tells us that although "Fengcomedy" has gotten a great success up to now, but it has to get out of geographicalrestrictions so that the people of the world could share his films together, so, DirectorFeng needs to continue his efforts in some way.The sixth part is the conclusion. After a brief conclusion about the significance andcontribution of Feng’s comedy films towards the development of the Chinesecontemporary modern comedy movie, this paper encourage a correct understandingand awareness to Feng’s postmodernism comedy film, saying which will bebeneficial both to Chinese contemporary comedy-making and theoretical research.Some theories on the postmodernism have been applied in this thesis to give arelatively thorough analyses on Feng’s comedy movies, claiming that Feng’s comedymovies should be the landmark for the whole development of the movie-making in themainland of China, for their conceiveing the essence of the humor and being able toshow it out completely. At last, it points out that Director Feng should, as usual,maintains his own advantages on the movie-making, and also, he should make someefforts to move on to develope a larger market for his movies, at the same time, to setup a role for the rest of the movie-makers in our China.