Research On The Localization Creation Of Film Noir

Diao Yinan,the representative of the directors of New Force,established a unique personal creative style combining black images and documentary through the two films "Uniform" and "Night Train".Later,"Black Coal,Thin Ice" and "The Wild Goose Lake" were even more brilliant,pushing the development of film noir in China to a brand new situation.This article takes four works directed by Diao Yinan as the research objects,and conducts overall research based on the creative level,Film aesthetics,Film Narratologyand and other theories as support,analyzes Diao Yinan’s localized practice of director Diao Yinan’s film noir,in order to explore Diao Yinan Experiences worth learning from in the localization of directors’ film noir creations.Based on my country’s unique social environment and national conditions that are different from those in the West.The first chapter first explores the group anxiety brought by the adjustment of industrial structure under my country’s social changes.On this basis,it analyzes Diao Yinan’s deconstruction and reconstruction of the fragmented narrative space.Form intertextuality with group emotions.Many people have also become urban "roamers" due to social changes and the director has shown humanistic care for this group.The second chapter explores the localization of the characters in Diao Yinan’s film noir.First of all,the characters in Diao’s movies are not detectives and "femme fatales",but small people from the bottom of society.Compared with the simplification of the character images in Hollywood noir films,the character images in Diao Yinan’s films are usually multi-faceted.At the same time,through analyzing film cases,it explores the differences in gender power consciousness between Diao Yinan’s film noir and Hollywood film noir,highlighting the improvement of the status of women in my country and the reflection on the traditional patriarchal society.The third chapter shows the localization of Diao Yinan’s film noir at the level of visual style,which has developed on top of inheriting the style of noir images.First,the image symbols related to the social,economic and cultural development of our country-factory buildings,dance halls,and water are selected as the bearers of various desires of the characters;secondly,many documentary techniques are added to make them more personal.Finally,thelocalized expression of violence and sex is not as direct as in the West,but both implicit and direct.The fourth chapter is the innovative point of this research,based on the analysis of the film industry aesthetics Diao Yinan’s inspiration for the localization of film noir.First of all,it must be subordinated to the "producer-centered system".The director shall,on the basis of the producer’s control of the general direction,meet the aesthetic needs of segmentation,and maximize the artistic effect and commercial interests;at the same time,there must be an "author within the system." Consciousness of identity,clarify the relationship between the individual and the system,and embrace the expectations of industry and the system while self-expression;also create within the scope of the national mainstream ideology,moral standards,etc.,so that black subjects can also be successfully reviewed At the same time,we must actively reflect on the social reality,and then effectively participate in the construction of the national mainstream discourse system.To sum up,through studying the style and localization practice of director Diao Yinan’s film noir,as well as Diao Yinan’s exploration of film industry aesthetics,explore the localized creation and development direction of film noir.