A Preliminary Study On The Aesthetic Spirit Of Hong Kong Films (1997-2006)

Hong Kong film is an important part of Chinese-Language cinema.Its development is relatively independent from the mainland.The reason for choosing Hong Kong film from 1997 to 2006 to study the aesthetic spirit is that the Hong Kong film of this period showed its transitional and neighborless island characteristics.It is not the same as the golden age of Hong Kong film before 1997."It's all over the top.It's crazy." In this period,Hong Kong film showed some various disputes.In these disputes,Hong Kong directors did their best to make various explorations,which enriched the diversity of the contents and forms of Hong Kong film during this period.But the inner unity which is the core of the diversity is the aesthetic spirit of the Hong Kong film in the aesthetic appeal.This paper holds that its specific connotation is mapping and subjective construction of Hong Kong social reality in the multi ethnic collision and the "neighborless island characteristics" presented in the humanistic care and social pursuit of Hong Kong film.From the perspective of concept construction of Chinese-Language cinema,the study on the aesthetic spirit of Hong Kong film from 1997 to 2006 can make a beneficial exploration for the enrichment and development of the concept of Chinese-Language cinema.In order to explain the aesthetic spirit of Hongkong film,the paper tries to use the methods of literature,case study,comparative analysis,and so on.To explore the connotation,the theme,the style and the aesthetic characteristics and function dimensions.The thesis is divided into six parts.In the introduction,this paper teases out the present situation of Hong Kong film research,highlighting the research value of the topic,and determines that the research object of this paper.The film which is made by the local director of Hong Kong reflects the social life of Hong Kong.The reasons for choosing the period from 1997 to 2006 were identified.In the first part,the author defines the aesthetic spirit of Hong Kong film in three aspects from 1997 to 2006: ethnic formation,humanistic introspection and aesthetic psychology.In the second part,the author presents the concept of “the subject of Hong Kong”,taking the reality solicitude of the Hong Kong society and the thought of Hong Kong's identity as standard,so the object of the text is split into three subjects: the subject of reminiscence and Wu xia,the subject of reality,the subject of ghost themes.This subjects are point out the seeking and reconstitute of the history and real identity,expressing the living condition of the marginal individuals and the realistic panic of the Hong Kong people in the ghost world.In the third part,the paper put forward the concept of “the style of Hong Kong”.Adopting a case-study approach.The thesis takes Hong Kong's social life,economic development,cultural changes and spiritual difficulties as the criteria for its study.it chooses three representative directors such as Fruit Chan,Karwai Wong ang Johnny To.The director,represented by Fruit Chan,focuses on exposing the social reality of Hong Kong,recording to the social and human life changes after Hong Kong's reunification with a documentary lens.The director,represented by Karwai Wong,focuses on the creation of form and reveals the spiritual distress of Hong Kong people after the reunification.And the director,represented by Johnny To,is trying to connet realistic content and creating form with art and commerce to promote the local revival of Hong Kong films.The three directors represent the three aspects of the aesthetic spirit in this period.In the fifth part,the paper is based on the island psychology,discussing the humanistic Spirit and Social function in the film of this period.Island psychology is the internal driving force of the development of Hong Kong film in this period.The humanistic spirit presents a realistic character.Under the care of island psychology,Hong Kong film seeks historical support and subjective imagination with images whose social function is to deconstruct the sense of rootlessness with the characteristics of isolated islands and to enhance the sense of participation in Chinese history to realize the construction of subjectivity.The conclusion points out that 1997-2006 was only a specific stage of Hong Kong film development,which laid the foundation for the development of Hong Kong film in 2006-2017.in the past 1997-2006,the spirit of movie aesthetics is an important link from "Hong Kong spirit" to "new Hong Kong spirit".The film is an image of nation or area.Even under the commercial envelope,Hong Kong films are trying to record the development and changes of Hong Kong's politics,economy and culture.In 1997-2006,Hong Kong film directors constantly innovated in form and content,and at the same time incorporated the historical of Hong Kong's return into the film,which makes the film of this period become a beautiful scenery line in the history of Hong Kong film.