Study Of The Chinese Modern Movie Literature Scripts In The Second Half Of 1940

The Chinese modem literature script is the combination of movie art and literature. Along with the development of movie art,it comes into being and turns to be mature. Beginning with the first film "Mountain Ding Jun " of our country,the Chinese movie as an important component of the Chinese national culture has been marching forward continuously from silence to sound,from monochrome to color and from the traditional to the modem.Following the historical course of the Chinese movie,the Chinese modem movie literature script had been passing from the periods of preparation, formation,development,expansion to the period of being matured with the independent literary style in the second half of 1940.During that time,the nation had altogether produced more than 210 narrative movies(including movies which were produced in Hong Kong) and the majority of the movies had screenwriters."Eight Thousand Li of Cloud and Moon" created by Shi Dongshan,"The River Flows Eastwards" created by Cai Chusheng and Zheng Junli, "The Lights of Ten Thousand Homes" created by Yang Hansheng and nearly 20 other movie literature scripts had achieved the organic unification in art of literariness and movie.Also they had reached a considerable altitude in the artistry and the ideological nature.All these scripts can be called classics.The analysis of the film text of the profound Chinese modem movie literature script of this thesis takes the angle of narrative logic of gradually going forward from the language and the structure to the characterization and the subject.As one kind of narrative literary style,the Chinese modem movie literature script had become an art of story narration within a certain length and a unique art of language just like the novels and the plays in the second half of 1940,Comparing to the novel and the play,the whole different characteristics of the movie literature script were not solely the visual modeling picture description and the montage,but both characters were the most basic differences without doubt.The post-war period movie literature script,using the visual modeling picture language to express or narrate one's ideas,paid more attention and pursued the enjoyable expressive charm of the picture.First of all,it was the picture description of "feeling and setting blended".Then it was the sound and picture fusion of "vivid artistic conception".Paying great attention to the former enables the description of script even more vivid and profound with implication;paying great attention to the latter enabled the script description of the sound and the picture to synthesize a harmonious whole.In this way,the authenticity of the script description can be strengthened and the movie can become one kind of audiovisual art with the sense of realism.Modem screenwriters use the visual expressive language,not only create many exquisite pictures of visual modeling,but also skillfully utilize the thinking mode of montage to express one's idea and promote the development of the plot.The montage is an important concept of modem movie and has a close relation with the Chinese literature aestheticism,especially the poetic tradition of "ode,compare and association".As a popular artistic mode of the Chinese writer,those three traditional Chinese ways of expression have great influence on the creation of the excellent movie literature scripts.In visual modeling description,they are combined together and be skillfully used to create a profound artistic conception with deep connotation.These greatly strengthened the expressive power and the appeal of script description.The movie script exhibits three characteristics in the narrative structure as an independent narrative art different from the play and the novel in the second half of 1940.First,the outstanding movie literature script manifests a kind of movie-like thinking mode and a structural approach,namely montage.Second,the script structures of plays,the structure of psychological narrative in a way surmount the ordinary plays and novels.Third,as to the artistic technique,the movie scripts show a preference for the tricks such as repetition,contrast,flashback.Montage is not only the most unique foundation for the language of the movie scripts,but the unique foundation of movie composing and structure.Relating with montage,the scene is the basic element of narration and structure for movie scripts.In the second half of 1940,montage was no longer a stiff utilization but changed into one kind of thinking mode and the writing custom for the writers of movie literature scripts;thus enabled the movie script to manifest a distinctive artistic appeal,which was different from the plays and the novels and was moving toward the true artistic path.As an art of integration,the movie learned from the play and the novel first.The movie scripts then took the play type conflict as its core structure and flexibly use the montage,the space and time used according to the need of plot and change freely in order to go along with the narration of the story.All of these skills made the movie surmount the traditional play in a way.The movie scripts also drew from the psychological narrative characteristics of the novel,used the structure of literature to create the visual picture.You may directly listen,feel and see without relying on your imagination.From the above analysis we can discover the common traits of movie and literature from the basic difference,also the literariness from the films.That is,from the visual modeling picture and the montage expression in the movie literature script to discover the common traits between films and the tradition of Chinese literature,especially in the later half of 1940.In this way,we may say that the moVie script had a profound difference from the novel and the play,as well as a close connection with the tradition of Chinese liTerature in the later half of 1940.Thus the independence of the movie literature script,different from th%novel and the play had been established,and then became one kind of independent literary style.As a result of the unique fi_m language expression in narrative,the movie literature sCript is also different from modeling of The characterization of novels and the plays.In the later half of 1940,the movie literature scripts were picturized with the description of characters and the plot development.In such a way a series of vivid characters were produced during this period of timeIn the later half of 1940,movie literature scripts complied with the historical process of the Chinese modem literature,and echoed the turbulent tide of the times.Either emphasized on the consciousness of social criticism,or inclined to the consciousness of humanism,its ideological nature and the direction for creation was very explicit.But this "directional" expression and the demand were not conceptual,or stiffly inbreathed. It is the "concrete image",the "metaphor" of the text,revealed naturally in accordance with the development of the plot and the molding of characters.It can be said as "the wind rippled the surface of the water naturally" and presented excellent artistic technique and high standard.The film scripts writers of the society group undertook the Chinese movie tradition of moving with the history,on an unusual level achieved a new altitude of ideology,and obtained a new artistic achievements.While the group of humanism focused on the spiritual side of the individual and the destiny of human being,it did not separate the characters from the reality,its vision did not deviate from concerning the real life or reflect certain essential aspects of the social life.The later half of 1940 was a turbulent and revolutionary period of time,also an enthusiastic and fevered time from which excellent works were frequently produced.In Kuomintang occupied region,among the complex and diverse forms of aesthetic taste and value of movie literature scripts,the tragic forms and the satirized comedies were the two prominent aesthetic values in the movie literature scripts of that age.During the post-war period,the different realistic and tragic aesthetic characters had the intrinsic uniformity as the tastes and values and concerned,thus fundamentally expedited a group of excellent works which combining the realistic and tragic aesthetic values together.While producing the outstanding tragic works,there were also good comedies,especially the satire comedies appeared.This showed that comedies had become a prominent aesthetic character in the movie creation of the later period of 1940.This period was also boasting of the taste of satire in the light comedies.Even in the tragedies one can easily found some typical plots with the feature of satire.This is enough to summarize:during the second half of 1940 satire comedies had become one of the prominent characters of the artistic taste for the movie production.Obviously,in the later half of 1940,the Chinese modern movie literature scripts had become one kind of effective narrative literary style of creating the main,reflecting the reality,molding the characters,and communicating the ideas.Thus it demonstrates the maturation of the movie literature scripts of this time.Therefore,we may say,the Chinese modern movie literature script had already developed into a mature and independent literary narrative style in the second half of 1940.