The Contradictions Set And The Way Of Solution In Student Films Of Chinese Mainland In 1980s

Looking back to the development history of China’s mainland student films, early in the 1930 s, some directors moved the image of students onto screen. For special historical reasons, after the beginning of the new era, student films were springing up. A large number of works became popular among audience and obtained many international awards and a lot of achievements. Using the art of film to reflect contemporary times air, the contradictions set in the film truly represented student’s daily life, exposing the various aspects of students’ emotion, psychology and study. Solutions to these contradictions and conflicts can also give reference to the audience. In contrast to the prosperity in film market, student films started late in theory and still need to be improved and enriched. Therefore, research on student films not only has theoretical significance to guide development of such films, but also has practical significance in the field of education.First, the development of student films in China is sorted out. Chronologically, it’s divided into three periods: starting and pioneering period before new times; reflection and transformation period after the reform and opening up to the outside in the 1980s; growth and development period in 1990 s and new millennium period. Different features of student films are summarized according to the aesthetic rheology and artistic characteristics.Secondly, the conflicts set in student film are classified to be researched including conflicts between students and society, students and family, teachers and students, students and students and conflict of student themselves in their growth. The author made a corresponding analysis and summary.Next, the solution to the main contradictions in student films is explored, mainly with two parts. The first part is solution way of justice victory, which contains reunion and discrete types. The second part is to leave a way of questioning without clear result, leaving audience a blank space and association.At last, combined with classic student films in 1980 s to analyze the artistic features, including the use of non professional actors and idol stars based on visual sensory to explore the aesthetic pleasure of characters bring. From the influence of screen color in a movie on conflicts, the intuitive feelings brought by it were discussed. Then from the transformation of narrative paradox, the artistic characteristics change and its influence on student films in China’s mainland are discussed. The conclusion part is about the summary of achievements and deficiencies of student films since 1980 s and personal opinions.The author hopes that the immature induction and summary can offer some extra ideas for theoretical research on Chinese student film and provide some practical reference for the filmmakers to let more people feel the artistic charm and value of student films.