A Study On Jia Zhangke's Films From The Perspective Of Media Memory

The style of Jia Zhangke's films is not only influenced by the Italian neo-realism movement,but also by the China's social transition period,so it has a unique personality,which is mainly reflected in the objective presentation of social contradictions and the sincere care for the underclass.As a result,Jia Zhangke has been attracting the attention of domestic and foreign media and filmmakers,and his films have been nominated for awards at various film festivals.Jia Zhangke has become an indispensable banner of Chinese films,and his films have certain reflective significance to the China's social transition period.From the perspective of media memory,Jia Zhangke's films can be studied from three aspects: individual memory,collective memory and social memory.First of all,there are a large number of images of individual memories in 24 city and I wish I knew in the film content and form.Jia Zhangke finished the content of two films in the form of oral history,which carried out the idea of individual memory.A large number of individual memories in the film from a private perspective make the historical memory in the film media from a more diverse perspective.Secondly,Jia Zhangke also uses audio-visual language to construct a large collective memory content in his films,especially Platform and Still Life.Platform presents a common experience of the Chinese people from 1979 to 1989,while Still Life presents the common life experience of The Three Gorges immigrants during the construction period of The Three Gorges project.Jia Zhangke constructs different types of collective memory through the combination of film audio-visual language,which is in line with the development needs of a specific era and can arouse the audience's thinking.Finally,Jia Zhangke's films also have a more detailed presentation on social memory.Three films such as A Touch of Sin,Mountains May Depart and Ash is Purest White are representative.In A Touch of Sin,the traditional opera promotes the development of the story,combines the spirit of the characters in the opera with the characters in the film,and enriches the expression of the film.Mountains May Depart and Ash is Purest White respectively present scenes of Guan Gong's statue,opera culture and red and white happy events,which not only play a role in shaping the image of characters,but also cause the audience to think about the status quo of traditional culture in China.In his years of realistic film creation,Jia Zhangke has always adhered to the following principles: Firstly,reconstructing the history so that the film can serve the development of the current society.Second,the content of individual memory and collective memory in the film is interwoven and integrated,so that the individual experience can be transformed into a collective experience that can resonate with the public,so that the audience can feel the power of individual life in the collective memory.Thirdly,through the film to highlight the spirit of care,guide the audience to think,show the realistic film warmth.These principles embody the uniqueness of Jia Zhangke's films in his time.Overall,Jia Zhangke's film works in technical level is not perfect,but they have passed out of cultural thinking is meaningful to society,to lead the generation after generation of Chinese filmmakers holding realism,film attention and expression of Chinese history and reality,will be more excellent realism movie production into an organic part of national culture.