From Scopophilia To Spectacle: The Visual Culture Study For Screen Image On Different Periods In China Since The End Of 1970s

The study seeks, at first, to argue that in the context of"visual culture"nowadays, the film has, undoubtedly, been affected by other related visual culture products, and armed itself overwhelmingly with the similar media characteristics of those visual culture products, which as the study insists, is exerting a subtle & gradual influence on the production patterns of Chinese films for the present.The study, therefore, intends to review the real essence of cinematic representation, and examine, generally & definitely, how the inherent pattern of the film is utilized to convey & interpret the notion of society, culture, politics, economy & human nature by the cinematic representation. Also, the study seeks, outwardly instead of just inwardly, to create a relatively free space & dimension so that the cinematic representation, the intrinsic visual symbol or element of the film, could be easily analyzed & penetrated in the broad context of visual culture. By doing this, the study, then, states that a more comprehensive & abundant knowledge on the film will be acquired, while it could also be recognized to date back to, from another peculiar perspective, the research of the film itself.The study notes that the cinematic representation echoes with its times very well, that is, the cinematic representation, in the end of 1970s & the early beginning of 1980s, is featured as scopophilia, while it's featured as cinematography based on the growing trend of culture in the mid-1980s. Also, the 1990s & the early beginning of 2000s have witnessed that phenomenon in the way that the realism in the 1990s proves to be incompatible with the market, while the new century qualifies, gradually & completely, the spectacle of the heavily-invested films. The study, therefore, seeks to discuss how the film plays a paradoxical part by compromising the visual culture sometimes or backing it instead. Finally, the study intends, by figuring out the constructive research methods beyond the scope of the researches targeted at the film itself, to activate the objective penetration into the main characteristics of the cinematic representation in the past, & review the general situation of the cinematic representation for the present and in the future.