中國當(dāng)代電影中的紀(jì)實(shí)現(xiàn)實(shí)主義

前言

I declare that this dissertation（1） is the result of my own work and includes nothing which isthe outcome of work done in collaboration;（2） is not substantially the same as any that I have submitted for adegree or diploma or other qualification at any other university; and thatno part of it has already been or in being concurrently submitted for anysuch degree, diploma or other qualification;（3） does not exceed the prescribed limit of 80,000 words.I have used hanyu pinyin for all Chinese names and phrasesthroughout the dissertation, except for names of characters as theyappear in the film's English subtitles. The hanyu pinyin and the original Chinese characters are listed in the "Glossary of Chinese Terms" forcross-reference.All translations of quoted Chinese texts are mine unless otherwisestated.

內(nèi)容概要

　　I declare that this dissertation；is the result of my own work and includes nothing which isthe outcome of work done in collaboration; is not substantially the same as any that I have submitted for adegree or diploma or other qualification at any other university; and thatno part of it has already been or in being concurrently submitted for anysuch degree, diploma or other qualification; does not exceed the prescribed limit of 80,000 words.　　I have used hanyu pinyin for all Chinese names and phrasesthroughout the dissertation, except for names of characters as theyappear in the films English subtitles. The hanyu pinyin and the original Chinese characters are listed in the "Glossary of Chinese Terms" forcross -reference.　　All translations of quoted Chinese texts are mine unless otherwisestated.

書籍目錄

PrefaceAcknowledgementsDissertation SummaryChapter One Introduction1. New Chinese Film: The Inadequacy of Labels in Describing the New Film Practices in China2. Matpping Contemoorarv Chinese Film3. Discursive ParametersChapter Two Identifying Docu-realism in Terms of History,Philosophy and Aesthetics1. Historically: Inside and Outside China2. Philosophically: The Redemption of Physical Reality3. Aesthetic PrinciplesChapter Three Zhang Yuan: A Breakthrough in Presenting Reality —— Escape from the Encirclement of Melo-realism1. Zhang Yuan and New Approaches to Reality2. Sons Cin6ma-v6rit6 Cinema-direct3. Seventeen Years and the New Documentary MovementChapter Four Jia Zhangke: Distinguishing Nostalgia from the Fifth Generation's Exoticism1. Xiaowu: The Common Man's Consciousness and the Popular Perspective2. Platform: Loose Narration and De-dramatization3. Unknown Pleasure: Redemption of Real Life Through SoundChapter Five Wang Xiaoshuai, Wang Chao, Lu Xuechang, Zhang Ming: Constructing Docu-realist Aesthetics in Film Construction1. Shot·Deep focus · Mise-en-scene2. Colour- Light· Physical Reality3. Editing·Montage· Long-takeConclusionAppendix Main Docu-realist Film Directors and Their WorksBibliographyGlossary

章節(jié)摘錄

The focal point of articulation between Chinese film art andChinese social life in the 1980s did not rest on economic /productive or reproductive reality, rather it lay in the recollectionof a shared nightmare and a common psychological referent: thehistorical reality and representation of the " Great ProletarianCultural Revolution". In the Fourth Generation art, the CulturalRevolution appears absent in its presence. These artists directlyconfronted the ten-year Cultural Revolution during the first periodof their works （1979-1981）, but they held a rather fixedpsychological approach, adopting an imploring posture ofgrieving, outworn humanism, to represent the era's "inexorabledoom" as if it were a classical romantic tragedy of youth. As theywere direct participants in the Cultural Revolution, their object wasto cleanse the blood from those unintentionally murderous gangs,using the passion of individual life history and the tears of youthfultragedy. They draw on conventional notions of humanity, humannature, civility, and barbarism to dispel but also to expound on theuniqueness of this phantasmic historical disaster. In the Fifth Generation art, however, the Cultural Revolutionis ubiquitously absent. Until the 1980s, the Fifth Generationavoided this topic entirely; however, their films inevitably came toreflect the fact that they （not the Fourth Generation）are theCultural Revolution's spiritual offspring.

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