Research On The Aesthetic Style Of Neon-Noir In Chinese Movies Since The New Millennium

The concept of neon-noir aesthetics originated from critical context.As a critical term,it evolved in its own history and shaped a specific aesthetic ideology in coordination with the history of movies.The study of neon-noir aesthetics involves different aspects of its film performance and media culture phenomenon.As a special visual symbol,"neon" has become an important aesthetic morpheme in the course of domestic films in China.Neon-noir aesthetics appears in a batch of films with noir temperament set in the mainland of China.It exists in the form of elements in films such as Weekend Lover and The Pickpocket,and then gradually matures as an aesthetic style.However,at present,most of the studies on neon-noir aesthetics focus on the western context,and only a few studies pay attention to the appearance and unique value of neon-noir aesthetics in China.These studies have laid a certain theoretical foundation for this paper,but the systematic research on the rheological style presentation and cultural connotation of neon black aesthetics is still in short supply.In this sense,this paper is a systematic strengthening of the research on neon-noir aesthetic style in domestic films.The first part of this paper is the introduction and the second part is the text.The main text is divided into three chapters as follows: In the first chapter,the author reveals the historical background of neon-noir aesthetics from the social reality of urbanization in the last century and the artistic exploration of "Urban Generation" directors,and combs the process of neon-noir aesthetics from elements to forming styles through specific texts,and then seeks the beauty of differences in neon-noir aesthetics in different texts in commonness.In the second chapter,the author focuses on the analysis of the style presentation of neon-noir aesthetics in domestic films,involving the characteristics of image space-time shaping,audio-visual expression,psychological metaphor subject presentation and so on.In the third chapter,the author combines contemporary media culture theory and social theory to study the ideographic creation of neon-noir aesthetics as a media culture phenomenon in film media and wider visual field.It mainly involves two aspects: one is the internal meaning of the film media text,the production shows the contradiction between visual and spiritual anxiety,the mentalization of neon,and the limited disorder;The second is the extension in the wider media system,which involves the aesthetic communication phenomenon under the wave of consumerism and the globalization of cultural industry.Specifically,it involves the interpretation of neon-noir aesthetics in popular culture and its interpretation in the global cyberspace era.In the last part of the conclusion,the author stands in the contemporary Chinese film era background through and summarizes the neon-noir aesthetics in the artistic concept,industrial concept,cultural values on the innovative significance of excavating its impact on local film creation enlightenment.This paper attempts to explain the use of noir discourse in a series of domestic films since the new century from the perspective of the style study of neon-noir aesthetics in domestic films.By grasping the connection between neon-noir aesthetic style and the current era,it provides a unique perspective for the study of contemporary domestic films and pan-visual culture.