A Study Of Trauma Narrative In Domestic Youth Films Since The New Century

Youth images have long been traced in China,and have experienced the development and evolution from war youth in the 30 s and 50 s,political youth in the 50 s and 70 s,and scarred youth in the 70 s and 90 s.With the advent of the new century,driven by economic globalization,youth films,as a special type of film,present a diverse image ecology in the context of consumption and post-modernism.Domestic youth films have also constructed a new traumatic narrative,showing different trauma types under the trend of nostalgia and carnival.This article takes the domestic youth films in the new century as the research object,based on the psychological perspective,through trauma theory,combined with feminism,postmodernism and other related knowledge,interprets the types and characteristics of trauma narratives in the domestic youth films in the new century.Interpreting the image expression of trauma narrative in youth films and its healing and reflection,constructing a generation of youth trauma memories.This article is divided into four chapters.The first chapter first sorts out the concept of youth films,and summarizes the two major creative directions of youth films in the new century through the review of the literature.They are commercial campus youth films and realistic youth films;secondly,it deals with trauma and trauma.The development and evolution of theories and trauma narratives are sorted out;finally,the trauma types of domestic youth films since the new century are also pointed out.The second chapter focuses on the analysis of the trauma narrative of youth films under the gender perspective.Through the comparison of male and female trauma in the two major creative directions of youth films,the characteristics of the trauma narrative are analyzed from the perspective of visual culture.The spectacle is expressed to the conscious expression of female consciousness.The third chapter starts from the trauma narrative of domestic youth films from a social perspective,and analyzes the social symptoms of trauma in commercial campus youth films and realistic youth films,from the conflict of search and escape to the confusion of understanding under the identity crisis..It also discusses the purpose of trauma narrative in the context of post-modern society,from carnival in consumer society to realistic writing in documentary aesthetics.The fourth chapter analyzes the image expression of trauma narrative in domestic youth films.Four points are summarized,namely the traumatic memory under non-linear narrative,the "being seen" situation under different viewpoints,the traumatic space under extreme influence,and the traumatic experience under layers of suspense.