On The Post Modernity Of Lou Ye’s Films In The New Century

The directors of new generation grew up in an era of post-modernism became popular in China, so their movies have a clear imprint of post-modernism. But in 2000 s, the directors of new generation have many changes. Some of these directors like Jia Zhangke change their styles and turn to mainstream movies, gradually deviate from underground film while Lou Ye is still doing underground films and sticks to post-modernism. This thesis takes Lou Ye’s movies made in 2000 s as the object to explore his post-modernism.The thesis consists of these parts as follows:The Introduction takes a brief introduction of the cultural background and meaning of the study based on the articles about Lou Ye at home or abroad. Analyzing directors of new generation can start on the analysis of single director because the maturity of individual style can testify the gradual maturity of the directors of new generation.Chapter One introduces the common features in theme and style of narration of directors of new generation in the macroscopic view based on the spread of post-modernism. This is the door to study post-modernity in Lou Ye’s new century movies.Chapter Two takes The Summer Palace as object to analyze the personalized narration above daily sex. This is definitely the continuity of personalized narration in Chinese literature in 1990 s but also a strong personal expression of the directors of new generation.Chapter Three takes Spring Forever as object to expound the feature of the combination of poetry and violence in the controversial homosexual movies.Chapter Four takes Mystery as object to illustrate the conflicting situation people lived nowadays where desire, morality and religion clashed and the complex relationship between desire and morality through the description of everyday life.The Conclusion will briefly summarize the overall characteristics of Lou Ye’s movies by discussing Author Film, uncertain title, personalized thinking etc.