The Study On Revelry Narrative In Current Chinese Comedy Films

2012 was a landmark turning year for Chinese comedy films.After "Lost in Thai" created the myth of Chinese box office with more than one billion,Chinese comedy films began to sweep over the traditional market pattern of Chinese films.With its amazing box office performance and phenomenal word of mouth,Chinese comedy films has become a noticeable part of the Chinese film industry and also has changed the traditional temperament of Chinese films in a subtle way.In recent years,Chinese comedy films have presented orgiastic logic in their narrative thinking.From the pursuit of rational aesthetic,the promotion of order and norms,they have gradually changed towards carnivalization,civilianization and gamification.In the narrative form,they gradually avoided the grand narrative while turned to took the collage-like mirrored representation of intertwined structures,subverting the complete causal linear narrative structure and even splitting the linear space-time and then reassembling it,presenting a hyperlinked fragmentary collage narrative.Current Chinese comedy movies are obsessed with pursuing sensory stimuli,focusing on worldly desires,pursuing immediate psychological pleasure and jumping away from the shackles of serious and rational narrative to achieve the narrative form of teasing,gamification and carnival,so that the audience can vent the pressures and negative emotions from their real life.Current Chinese comedy movies presents a clear carnivalization in the narrative and guides the collective carnival of the whole people in social life.This paper takes the carnival narrative of domestic comedy films as the research object and uses Chinese comedy films released since 2012 as the main research text.It combines Bakhtin's carnival theory and film narratology to sort out and analyze the specific characteristics of the carnival narratives of domestic comedy films and thecauses behind them.This article includes the following four chapters: the first chapter is to sort out and summarize the conceptual connotation of the carnival theory and domestic comedy films,as well as the narrative turning of domestic comedy films;The second chapter is to make a comprehensive analysis of the orgiastic character construction of "coronation-destruction",the orgiastic narration of sound of "deconstruction-parody",the orgiastic visual narrative of "spoof-stimulation" and the orgiastic polyphonic structure narrative of "collage-hybrid";Then chapter three is the analysis of the theoretical and realistic causes behind the carnival narrative characteristics of current domestic comedy films;The last chapter is the conclusion of the value and defects of carnival narratives of current domestic comedy films and then Putting forward some feasible suggestions for the narrative of domestic comedy films in the future.