| In the new era,we should strengthen our cultural self-confidence and promote the creative transformation and innovative development of Chinese excellent traditional culture.Historical movies are important media for inheriting and spreading culture Chu-Han period is a key stage in the development of Chinese history,and it is also a historical period that many directors focus on.Among them,Xiang Yu is one of the most charming characters.The author thinks that studying Xiang Yu’s image and feeling Xiang Yu’s spirit is of practical significanceThe films which take the story of Xiang Yu as the main character as the content element and allow certain fiction and association are collectively referred to as"contemporary Xiang Yu movies" in this paper.At present,the academic circles have not formed a multi-dimensional research perspective in the research of this subject film,and the observation of research samples in the changing context of the times is not profound This paper will focus on three aspects:content,form and thought.In the comparison between historical narrative and film narrative,the author puts forward the creative ideas of induction and deduction’s research samples in adaptation strategy,audio-visual scheduling and ideological implication,which can provide reference for the creation of films on this subject in the futureFirst of all,there are three adaptation strategies.Creative Team of Xian Qiran(Stephen Shin)and Wei Hantao highlight the lighting function of social environment;Creative Team of Li Rengang and Lu Chuan expresses the author’s style under the guise of the narrative perspective of the role;Creative Team of Chen Kaige and Junjie Teng shows selectivity in the theory of "interface".The former shares the interface,while the latter eliminates it.Secondly,the film has formed two types of audio-visual characteristics.In the shots design,the creators use the open "depth of field" shots to metaphor the relationship between Xiang Yu and others,adopt the ambiguous "composition" to imply Xiang Yu’s living conditions,and use the "close-up" and "elevation" shots to emphasize Xiang Yu’s strong emotions;On the relationship between sound and picture,they apply "sound and picture in parallel" to expand the space information capacity,thus effectively generating distinct rhythm.Thirdly,the film reflects three types of ideological implications.Chen Kaige,Stephen Shin and Wei Hantao have done some reform,and they inherited the creative trend of"ordinary people’s image" which was usually presented at the visual cultural stage,and explored Xiang Yu’s "mortal" image of "righteous characteristic" with an affinity attitude,further highlighting Xiang Yu’s tragic character characteristics.On the basis of predecessors,Li Rengang,Lu Chuan and Teng Junjie formed a "micro-narrative" which was keen to dispel grand narrative,and conveyed the cultural values of "pride must be defeated" and "integrity firstFinally,these films aim at fading away divinity and restoring human nature,the author thinks although the creation of this subject fits the life attitude that modern people call for true feelings,advocate integrity,pay attention to reflection,emphasize self-esteem and strive to realize self-worth,it still needs to be improved on the harmonious unity of historical truth and artistic truth.A large number of love entanglements,family ties and friendship confusions in the movie,although in line with market trends and public tastes,have also weakened the lofty image of Xiang Yu’s tragic hero to a certain extent. |
