The Study Of The Film In Northeast China (1979-2010)

Under the academic advocacy of “reconstructing Chinese film”, regional film research has become a new direction of historical research. The long history has left a distinct mark in northeast films. The study of this phase’s history is an integral part of reconstructing contemporary film history. Regarding the northeast films from 1979 to 2010 as the research object, the paper combines the relevant theories and methods of historical research to construct a scientific and systematic research paradigm of regional film history under the guidance of Marxist historical materialism. With rational thought, intensive text reading and logic reasoning, the paper analyzes what the motivations of northeast film’s historical evolution are so as to explore how these motivations influence each other and lead to the change of northeast film’s real fate.The whole paper consists of three parts, introduction, body part and conclusion. With the “crisscrossing vertically and horizontally” and the “three comments” on unify" as the research thought, the paper studies the historical phenomenon and rheological reason of northeast films deeply, six chapters are included:The first chapter is the introduction part, expounding the topic selection background, research questions, research status at home and abroad, research ideas, research methods, research significance and the innovations.The second chapter defines “northeast film” concept in this text by the logic definition method, then discusses the essential properties of the northeast film properties under the guidance of systematic and scientific method, and finally illustrates the rich connotation of “northeast film” in the culturology category.The third chapter “breaks through” the new concept of film history in the historic space of “crisscrossing vertically and horizontally”. Horizontally, this chapter analyzes the intrinsic relations between northeast film and Changchun Film Studio. Placing the northeast film in the big background of China film development, the paper conducts a comprehensive and systematic research on the development and evolution of the northeast film, combining with its main developing position-Changchun Film Studio’s time opportunity, and deeply analyzes the inalienable "blood" relationship between them. Vertically, with the historical evolution as clues, the paper divides northeast film’s development history into “exploration period” and “turbulence period” and “construction period” by Marx’s historical stages method. And then illustrate each period’s stage characteristics from the aspects of technology, subject matter and aesthetic in order to present the original appearance of northeast film history comprehensively under the crisscrossing time-space dimension.Based on Marxist Historical Ontology research method and breaking the traditional one-dimensional way of film history study, the fourth chapter regards film phenomenon as synthetic and developed product by the interplay of numerous generating factors like economy and politic under the background of particular time, and discusses the internal connection and interaction effect of the generating elements reasoningly. This part shall analyze the generation mechanism of internal cause and external cause of its development and changes comprehensively, combining with the above history stage phenomenon. The external causes include the influence and restriction of film system and film policy, and starting from Marx’s anthropology thought, the internal cause studies people’s crucial role in historical course as “group person” and as “individual person” respectively, and how the significance and power of “people” are highlighted in northeast films produced by different “people” in different stages.Under the guidance of Marx’s historical aesthetic theory, the fifth chapter takes the northeast film history as aesthetic object and conducts aesthetics inspection and value evaluation. According to Zhu Huijun’s interpretation of film aesthetic form in the Film Morphology, the paper regards the northeast film’s aesthetic form as the basis of historic form and cultural form, conducts dynamic study from the three levels of lens language, narrative structure and form style, and explains the law of northeast film aesthetic activities, as well as how the subject treat history in the form of aesthetic.Undertaking the studying skeleton of whole text, the sixth chapter, conclusion part summarizes the root causes of the northeast film history’s morphological evolution from1979 to 2010 so as to realize the intrinsic unity of historical ontology, historical aesthetic theory and historical epistemology. Finally, the paper shall reveal the contemporary significance of northeast film, and discuss how to respond to the new era proposition of northeast film from a broader cultural perspective.