A Study On Aesthetics And Narration Of Chinese Mainstream Commercial Films

The Knot in2006and Assembly in2007have been turned on the Mainstream Commercial Film era of Chinese films. From then on, the commercialization of mainstream films and the mainstreaming of commercial films have became two of the most important ways for the marketization of Chinese native films, both of which closely relating with the mainstream ideology.The audience of the mainstream commercial films is the emerging Chinese new middle class, who represent the mainstream ideology which is called as the New Ideology. As a result, the role played by the middle class and its value are becoming more lucid in the mainstream films. But, it is the spasmodic appearance of Chinese middle class and its extreme reliance on state ideology which have decided the vulnerability and superficialness of the mainstream values in mainstream images. In the first part of this dissertation, the close reading for some symbolized films will be made to reveal that specific values adopted by the middle class, including individualism, democracy, humanity and feminism, don’t exist in the narration context. Instead, all those aspects have surrendered to the old ideology. The goal of their value representation is just to decorate and shelter the modern appearance of traditional ideology.Mainstream commercial films still cannot escape from its inertia to the traditional ideology. The second part of this dissertation mainly focus on how mainstream commercial films have armed the official ideology with a set of effective aesthetic rhetoric methods and made it formate an aesthetic and appropriate shape.Besides the official ideology and the middle class values, narration of mainstream commercial films is definitely formulated by consumerism. In the last part, this dissertation mainly discusses how consumerism has led the mainstream commercial films to a spectacle style.In conclusion, mainstream commercial films, as one of the mainstream media narrations, can not successfully represent the real middle-class values. Instead, they have changed their inherent nature on account of the traditional or consumerism ideology. Chinese middle class does, after all, keep its identity to the state ideology, the dependency and conservatism in which has determined the ultimate narration and aesthetics of the mainstream commercial films.