A Study On The Narrative Strategy Of Guanhu Films In The New Decade

In the 1990 s,the sixth generation of directors gradually entered the public eye from the underground shooting mode.With the tremendous changes in Chinese society and the film industry,the sixth generation of directors has gradually become the mainstay of the development of China's film industry.Guan Hu,as a sixth-generation director of China,has a very personal characteristic and charm.From the original "Xishi Eye" filmed in 1992 to the release of the latest movie "King Kong River" in 2020,he insisted on his own understanding and interpretation of the film.With unique perspectives,refined images,and unique styles and techniques,it has received widespread attention from the industry.Guan Hu's films formed a unique personal style among the sixth-generation directors through the selection of film materials,narrative methods,and film language.His main body mostly revolved around the “people” of the times,and initially reflected the life of the people at the bottom of the city.The state has gradually entered the spatial dimension of modernity and history,deepened into the thinking of human nature and value under the fable of war,and conveyed the reflection on life in the audio-visual world.The narrative method of Guanhu movies is usually to break the normal operation of time and space,to find the characters themselves in the fragments,to use light,shadow,sound,and sound to interpret the confusing and confusing storylines,and to describe the details in the active character depiction,its metaphors The style of tone and light will highlight the artistic style of Guanhu movies.In the sixth generation of directors who are constantly engraving the living conditions of marginal characters,Guan Hu uses a unique description perspective and dimension to cross-fuse shots and editing.While surprises and expectations for the audience,he continues to advance and create unique Movie works of their own style.In the new ten years,Guanhu movies started with "Killing Lives" in 2012,making progress with the society,and gradually developed a narrative strategy unique to Guanhu,which is worthy of discussion and analysis by film critics in the industry.This article mainly focuses on "Killing" in 2012,"Cooking Actress Ruffian" in 2013,"Old Paoer" in 2015,"My Country and My Country(Eve)" in 2019,and "Eight Hundred" in 2020.Analyzed emphatically with "King Kong River",devoted to analyzing its unique narrative strategy,and demonstrated it from the theme of narrative,narrative structure and audio-visual language,with a view to interpreting the value of Guanhu movies in the new decade for the sixth generation of directors purpose.This article begins with the development of Guanhu's movie and discusses the changes of Guanhu's movie in the new decade.With the rapid changes in my country's national conditions,changes in the political,economic,and social environment have more profoundly affected the director's story selection,creative philosophy and narrative direction.It is not so much that Guan Hu is creating a movie,but he uses the lens to communicate with the audience,and accurately conveys what he wants to express to the audience in the language of the lens.Secondly,starting from the narrative topic and the character images of view,the narrative themes of Guanhu's new decade film are divided into: the self-seeking of marginal characters,the reality collision of traditional consciousness,and the consciousness of life in real history.The chapter of this article will start with the character images of Guan Hu's new ten years film Starting from Gomarez's cinematic Semiotics,and analyze the protagonist,villain and female images,so as to achieve the purpose of explaining the changes in the characterization of the film.The third chapter of this article will start from the narrative structure and audiovisual language of Guanhu movies in the new ten years,focusing on analyzing the narrative strategy of Guanhu movies,decomposing the temporal and spatial transformations,the variability of narrative perspectives and the setting of plots and conflicts.The article mainly discussing how Guan Hu skillfully uses the film audiovisual language,and understands the wonderful works of Guan Hu in the description of narrative strategies.Chapter4 is reflection of the narrative summary of Guanhu's film described in the overall thesis.The chapter of this artivle will understood the deficiencies and enlightenment of narrative strategies in his films from three angles,and the unique visual and auditory experience that the audience has brought to the audience during the ten years.At the same time,it also allows more people to understand the value that Guanhu's new decade film brings to the sixth generation of directors.Put forward the author's own views on it,but also pointed out some shortcomings,and lay a solid foundation for Guan Hu's future works to a new level.His narrative style not only has the allegorical characteristics of the fifth-generation directors,but also the documentary characteristics of the marginal characters of the sixthgeneration directors,and is guided by the theme that combines the characteristics of the times.Constant conversion,constant conversion between the years,thus expressing the director's pursuit and aesthetic of art and commerce,has become a feature that constitutes the visual feast of his films,and expresses his family and country feelings for the country and the humanistic care for the movie characters.