Exploration And Innovation In An Interview Of Variation And Fusion

As a nexus, the position of the "fourth generation" in the Chinese film history is complex and awkward. When they were graduated from college, there are up to ten years when the development of film industry is limited, and soon came the "fifth generation". "fourth generation" of centralized creation only within a short span of five years(1979-1984). They grow up with fond memories and the pain of childhood, but also ushered in the golden era of the influx of foreign theories. Freedom in expression and inner melancholy makes their work unique. the complex situation of the "Fourth generation" not only makes the relative lack of attention to their work, but also makes confusing about their research, numerous errors and omissions. Among them, not only their own misuse of the introduction of the theory, more researchers "misunderstanding."Soviet literary theory is an intermittent long-term impact in the history of the 20th century of China’s, the Soviet literary thaw period also affected the breadth and depth of exclusive advantages, domestic trends in the 1980s share the same strain of emphasis on humanitarian. However, due to the time and conditions gap, the far-reaching impact is hidden, and converted. Bazin’s theory as well as the Italian neo-realism is such alternative theories in the 1980s. As National cinema technology innovation and sense of form issues highlighted in the 1980s, Bazin’s theory "changes" its form from critical theory to practical theory in a complex of realistic and comprehensive awareness and humanitarian care and became the best endorsement of "fourth generation", which once covered the other influences.The relationship between "fourth generation" and the Left Bank Movement, is performance of accidental similarities of unconsciousness. Compared to the widespread of films and, literature of Soviet thawing era and the succession of Italian neo-realism, theories of "Left Bank" and articles on the "new novel" has a certain "distance" with China during the pre-1980s. there is only sporadic association in memoirs documented of the "fourth generation" However, the comparability between the two seems to be a leap era coincidence. The early works of the fourth generation, in the relatively outdated professional basis and circumstances of a chronic lack of practice, also facing of the boom of the theory, and passion of innovation in themselves, under unrealistic expectations, a series of "innovative along with immature" work came into being. Lack of resources makes them more dependent on literary adaptation, and with strong pull towards reality and history in turn lead them to a state of emotional style of prose style. These have led them to "meet" the "Left Bank" stylistic which is fifties far away from this periodInnovation in China from the beginning of the "fourth generation" carries of on behalf of the film industry which is controlled by the socialist ideology and. has never been a complete, of cultural continent, and shows a honest and aesthetic review in the gap between the great disaster of itself and being about to incorporate by the commercial culture.In their works which is "full of contradictions" and "not slack", the motif of "’change’and’growth’ converted into the’experience’ and’gaze’, the basic thought of history of evolutionary gave way to a relatively abstract poetic thought of history, and the ambitious proposition of Enlightenment, cultural reflection and human aspirations are also able to slowly expand."...