The Culture Motif And Narrative Strategy Of Chinese Road Movie

As a new genre in the Chinese film industry in the 21 st century,the Chinese road movie,emerged from its American counterpart and further shaped by localization,has always revealed its unique character on culture and narrative perspective.Based on the social reality,it grasps a certain type of social psychology of longing to run away,to search and to return as a result of modern anxiety in the 21 st century.The Chinese road movies follow the common narrative mode that the actions take places during a road journey,however,the inheritance of traditional Chinese narrative methods as well as the absorbing of post-modernism in narration make them special in narrative techniques.Therefore,this paper intends to study the cultural essence and narrative angles for a better understanding of the culture and narration in Chinese road movies.Staring from the culture motif and narrative methods,it has been divided into the following four parts:In the first part,this paper suggests that the road movies be considered as a specific genre of American modern movies considering the analysis of their cultural essence and types of narration that are discussed in the aspects of the concept,social background and the classification of them.In addition,from the angle of the genetic and comparative study,the paper has explored the development of road movies in China and put forward that the Chinese road movies with the narrative mode of "on the road" from American road movies have gone through the reform and innovation with Chinese social reality,showing their Chinese features.The second part,from the perspective of cultural motif,meticulously reviews the typical plots of China's road movies in which the spiritual essence and psychological desires are described.We believe that "running away","searching" and "returning" is the most typical and common scene in the movies,and their recurring has the cultural meaning of motif.What is more,we believe that under the pressure of the city and modern times,people willingly or unwillingly walk "on the road" to run away,wandering in life.During the journey,they are constantly looking for ways to live as well as the inner peace,break the cage of reality,continue the journey after trying,or get lost in the endless searching.Thus the emotion may be settled,the inner peace be found,or the salvation seems to be got.Finally,they have returned.The third part from the perspectives of time and space,narrative perspective,the analysis of traditional narrative techniques in the film.China road movie in the traditional space-time view,at the same time,the principle of combining modern editing the encoding of the narrative,formed a complete set of,the traditional time and space,the narrative method of perspective.China road movie no matter in the choice of narrative time,time,shape,or on the narrative time possess unique narrative skills.In addition,the restructuring of modelling in the choice of space,space and space,it also formed a unique narrative space,and through the narrative space in the form of visual encoding display codes significance of road movie,one of the most typical is flowing space and claustrophobic space.In addition,China road movie or USES omniscient camera,or use the limit of knowledge,with flexible lens language telling the story.The fourth part from the perspective of postmodern context,blend in postmodern narrative theory,with video camera for clues on postmodern narrative techniques.We believe the Chinese road movie in a game,entertainment,carnival way of narrative,witty humor and dialogue,presents the Chinese road movie narrative characteristics of the harmonic fit zhuang.Collage,parody narrative narrative,prick silk,absurd narrative,is China's main road movie "post-modernity" narrative strategy.