A Study On The Narrative Focus Of The Fourth Generation Of Chinese Directors' Films

The fourth generation of Chinese artists is a broken generation,fleeing politics and reality in the pain of dissociation,and moving towards film as the pureness of art.These groups,which were born in 1979,are collectively weak because of the historical unconscious invasion.The vast and eternal land of film art engraves their affectionate gaze,but they will eventually face the unknown and the sunset in the unreliability of society,which is what Professor Dai Jinhua said: the leaning tower overlooks,the leaning tower is rooted in The cracked earth,the top of the tower points to the sky that is believed to lead to artistic purity,but only increases the angle of the leaning tower.Compared with the previous third-generation directors,under the special historical interpretation,the third generation of directors and history have joined hands to sing the "herge of war",and the fourth generation of directors' ultimate pursuit of individual writing and experience subverts the traditional The narrative mode,under the episode of documentaryism,is the extension of the self-spiritual world,rather than the restoration of material reality in the traditional sense.The coupling between the narrative focus theory and the creation of the fourth generation of Chinese directors can produce great brilliance,which is reflected in the article.The first introduction is mainly to discuss some issues for the topic.The second chapter is mainly about the definition and combing of theoretical concepts.Firstly,it explains and analyzes the narrative focus theory in narratology,including focusing on the relationship between subject and object,focusing on the theory of “possible world” and the relationship between focus and film image.The third chapter is the interpretation of the specific works of the fourth generation of Chinese directors by the three-point method of the Gennet Focus Theory.With the participation of the narrative focus,the characteristics of the video text will show a unique perspective,such as in the movie ?Old Things in the South?.In ?Youth Festival?,?Bashan Night Rain ? and so on,narrative focus has an impact on the form and content of film narrative.The fourth chapter takes the coupling of narrative and ethics as the starting point toexplore the narrative stance of the fourth generation of Chinese directors and answer the question of the ethical appeal of the fourth generation of Chinese directors in the new era.What is "good" in the image? What is "conscience" and what is "legitimate" has been profoundly explained.The exchange of narrative and ethics has made narratology break the inherent imprisonment,and its value has a stable foothold.