Postmodern Aesthetic Narrative Wonders Of Taiwan Films In The New Century

After Taiwan lifted”martial law" in 1987,the development of films got unprecedented freedom.The regulations that were regarded as taboos were broken.The creative subject began to turn to the narrative theme of historical reflection without political pressure.With the development of the times,the wave of globalization swept through,and Taiwan films have also been deeply affected.The creative subjects of the new century have abandoned the historical,moral,and political principles that were regarded as the standard in the past and chose a more liberal and open narrative style.It shows the emotional narrative logic that is separated from the last century,which makes Taiwan films show a strong post-modern aesthetic view in the new century.The focus of films has shifted from the pain and reflection of history to the daily presentation of urban life.In the era of industrial consumption in the new century,Taiwan films tend to be commercialized and entertained under the premise of adhering to artistic narrative.The narrative style forms a film spectacle of post-modern narrative aesthetics in the new century.This thesis takes the film of post-modern aesthetic style in Taiwan New Century Films as the research object.Firstly,it discusses the background and reasons of the post-modern aesthetics of Taiwan films.Secondly,through text perusal,combined with film narratology and psychoanalytic theory,Based on the analysis of the outsider of urban life,the pluralistic landscape of visual pleasure and the cultural symbols of consumer images,this paper probes into the presentation of human beings,vision and culture in postmodern aesthetics.Thirdly,From the Bakhtin s carnival poetic theory,the paper analyzes the carnival narrative style of Taiwan films.Finally,summarizes and ponders how Taiwan films continue to develop for a long time under the influence of postmodern aesthetics,taking into account the unity of art and commerce.