Narrative Study On Chinese Horrible Movie

Horrible movie, as a kind of entertainment mode to stimulate the senses and arouse people’s fear, is always popular with a specific group of people. Horrible movie has played a significant role in world movie field all the time. The first movie started from monster movie produced by Georges Méliès in the age of silent movie, serving as an important role. For audiences, horrible movie selects horrible and thrilling subjects to show evil and justice, with fast rhythm, much audience involvement, strong lens visual impact and rich mental challenges while seeing, so it’s popular with young audiences for a long time. This kind of movie has different horrible characteristics according to different region division. As a kind of classical movie, domestic horrible movie is unequalable to hot youth movies on shown quantity. But because it is horrible with the horrible impressions corresponding to feelings, it is completely contrary to facts while the tense narration under conflict is very attractive. Also it doesn’t endanger real safety and life, so it becomes a good way for contemporary people to release their mental pressure. Horrible movie has made some evolution on narrative language. Although narrative modes of most movies are similar, and audiences have also become pretty experienced, producers have never stopped innovating on narrative structure. This paper will conduct narrative study on horrible movies of aesthetic category, examine in details relying on real development of domestic and foreign movies, discuss how domestic movie makes horrible feelings by a series of narrative methods, suspense arrangement and plot laying.For the study, this paper basically starts from analysis on movie content, narrates by combining foreign classical movies, and uses the narrative rhetoric to production of horrible movie to discusses domestic horrible movies. This paper consists of four parts: the Chapter one Exordium is mainly the overall summary of study status quo on current horrible movies; Chapter two discusses the definition and evolution of horrible movies in details; Chapter three narrates subject characteristics and narrative methods of horrible movies, especially narrative subject of horrible movies, construction of narrative structure and suspense style of stories; Chapter and focuses on narrating characters’ unusual fear under tragedy fate in the movies; Chapter four attaches importance to analyze existing problems and contradiction of domestic horrible movies at present, and explores a suitable way to development of horrible movies in Chinese movie market. Therefore, I hope to provide a certain references and model significance through some studies for domestic horrible movies to improve own narrative modes.