Research On The Identity Narration Of Jia Zhangke's Movies From The Perspective Of Liquidity

At the end of the 20th century,the trend of Western post-colonialism film criticism influxed into the mainland,and the identity of the edge of the trend towards the center became a hot topic in the study of narratology.As the author of the narrative entity,the actual identity of the creator and the text of the narrative object form an effective connection and interact with each other to produce rich referential meaning.This dissertation focuses on the perspective of liquidity,sorts out the changes of Jia Zhangke's personal experience as the narrative subject,and analyzes the main connotations of the identity narrative of Jia Zhangke's series of movies,including the narrative objects that the series of movie texts focus on and the narrative themes that are always strongly expressed.Image style presented on the screen.The first chapter focuses on the explanation of the personal real identity change of the director and its internal reasons.It discusses from the aspects of the transformation of the actual identity,the expression of the director and the personalized expression outside the business discourse.The first section mainly reviews the background of Jia Zhangke's growth experience,theoretical accomplishment and creative process from fenyang Beijing to the world.The second section focuses on the important connotations of the presentation of Jia Zhangke's director and analyzes the sixth generation and the new generation.The difference shows the author's discussion of the evolution of the concept of the author's expression;Section ? reviews the director's personal appeal outside of a business discourse and clarifies the significance of revolting against the monopoly of the film market.It involves "The Three Gorges" and Zhang Yimou's director.The battles between the soldiers and the soldiers have led to the question of whether to produce"good people" or "gold" and the consequences of the division between commercial films and art films.The second chapter focuses on the mobility of the characters and their practical reasons,and analyzes the narrative objects described in many texts.It involves three levels:the youth in the county,the people abandoned by the times,and the cross-space migrants.The study found that the narrative objects began to turn to modern individuals with fluidity.The third chapter makes an in-depth analysis of the narrative theme,and elaborates on the issues of youthful past,complete family myth,money tyranny and violence.The narrative themes are no longer confined to the simple recognition of marginal situations,but tend to show the destructive power of enhanced mobility.Jia Zhangke recalled the memory of youth in the film and presented the audience with street space and pop songs that could provide a warm day for everyday life.From the early hometown trilogy,the deconstruction of complete family myths to the desire to seek family comfort in recent years.It shows that the creators have deepened their understanding of reality and gradually moved towards the mainstream;the autocracy of the concept of the supremacy of money has triggered the public's neglect of emotional power and damage to individual dignity;violence has led to the decline of patriarchal authority,social injustice,and individuals Lost and other topics.The fourth chapter focuses on Jia Zhangke's film narrative style to get rid of the classic realistic style,and strive to pursue the inherent poetic atmosphere of mobile images.This part mainly discusses from three perspectives:narrative perspective,narrative structure and narrative symbol.The narrative perspective is presented as an objective state of the outsider.The narrative structure is divided into plate narrative and opening outcomes;narrative symbols include Han Sanming and the city wall.The change of narrative style shows that Jia Zhangke has deepened his understanding of the film's ontology and gradually sought the possibility of historical implications affecting expression.The identity narrative of Jia Zhangke's films has rich connotations.He always pays attention to and responds to the actual effects of significant changes in the real life of individuals and reflects the current state of existence of the people.It cannot be overlooked that Jia Zhangke,who is at the margin of the society,tends to adopt a narrative strategy in which the actual identity and the text identity identify each other and adhere to each other.The ultimate personalized expression is not only the conscious expression of art,but also inevitably trapped in the quagmire of self-talk..Giving up identity crisis,Jia Zhangke tried to cast aside the narcissism of a small minority,constantly deepened his understanding of reality,and turned to social concern and ultimate concern.