Visual Culture In The Context Of Novel Writing In The Eighties And Nineties

From the perspective of the vision culture, this article investigatesand reviews the development and change of the novels of the 1980s and1990s. Its purpose is to reveal as a press culture form what regularpatterns the novel of that time follows and what kind of form it presents.Following a train thought of overall study and by combining the methodsof interior study and exterior study of the novels together, this paper aimsat presenting the tendency and logical development of the novel of thatperiod. Furthermore, this paper aims at researching the vision culture andthe critical study of the film and teleplay in the context of 20th centuryliterature study. By taking the advantage of the theoretical achievementsof the critical study of film and teleplay, the media study, the culturestudy and the sociology, this paper tries to infuse a new life into the studyof the novels of 1980s and 1990s. The first chapter presents the definition and exposition of the visionculture. It examines the theoretical resources of the vision culture for thepurpose of researching the relationship of media alteration and culturaltransition. The second chapter studies the change of novels in the context of thevision culture. The study focuses on the following aspects: Theprosperity of China's cultural and economic development rejuvenates thevision culture. The objective reality that novel faces has changed. Thedilemmas Chinese writers are trapped under the impact of film andteleplay; The reader's community has been changed; their tastes andhabits of the appreciation are shaped by the vision culture. The third chapter analyzes the esthetic conception presented in thenovels in the context of the vision culture by the description of the senseimpact and the desire release in the novel, the identification of theworldly attitude and the writing features of returning to commonness andlegendizing historical figures. The forth chapter studies the interior structural strategy of the novelsin the context of the vision culture by describing the features of montage 2technique space emphasizing tendency and dramatizing tendency. As a conclusion, this paper points out the three relationships existingin the film and novels: dependency, mutual influence and betray. Thepaper also discusses the three counteractive measures taken by modernwriters: identifying and even catering to the vision cultural environmentby some of writers; continuing to research the nature of novels by takingadvantages of the vision cultural environment by some others; continuingto probe the nature of novels by departing from the mainstream visionculture by few others. The paper also argues that the appearance of poly-logue novel will be a possible force in the movement of the novelrecovering. Thus, the relationship between the novel and the film andteleplay will be complicated by the paradoxical phenomenon ofconvergence and betraying, cooperation and confrontation.