On The Aesthetic Connotation Of Domestic Youth Films

Since the 20,30 in the last century,youth films have showed the different styles of youth,in which the youth culture under the influence of the mainstream culture and the penetration of the time is hidden.The research on the aesthetic implication of domestic youth films,is a kind of systematic experience and interpretation of the beauty of the films.In order to find out the aesthetic rules of youth films art and explore the humanistic spirit and aesthetic significance contained in the themes,narration,characters and audiovisual languages,domestic youth films should be analyzed rationally,the trends of films art should be thought about rationally,and the aesthetic implication of each historical stage should be studied.Chapter one,"The change of aesthetic implication of domestic youth films",mainly combs the development of domestic youth films from the angle of film theme aesthetics,narrative aesthetics,film history and social history,and reflects the changes of aesthetic implication.Before 1949,when China was in turmoil,political corruption and economic collapse,the films' aesthetic implication obviously tended to be "critical." From 1949 to 1980s,the enthusiasm for building a new China,the endless movement,the introspection after the rectification,the impact of the market economy,the films' aesthetic implication constantly could surge in the trend of the times,portraying different spiritual temperament of the youth group.In 1990s,with social transformation,and the impact of foreign blockbusters,the new generation of Chinese films appeared,the aesthetic implication of their films had been marked by the "cruel tale of youth." Since the new century,the political and artistic models of Chinese films have transformed.The aesthetic implication of the youth films is no longer confined to the inherent type,and intelligently absorbs the elements of other types of movies to form youth films of multi-elements with different styles and different postures.Chapter two,"Subject consciousness in aesthetic implication",taking 1979 as the boundary,examines the artistic philosophy of the character subject in the two major stages before and after the period.The turning point of the Chinese youth films is the period of 1979.On the display of aesthetic implication,it is not only the fading out of "heroic elite writing" and "the era of capture",but also the coming of "the common people's grassroots writing" and "the times of expression"."I" means "self","individuality" and "self-actualization".Ignoring the richness and individuality of the youth image,the film text of "youth without self' appeared.With "large-scale narratives" replaced gradually by "small narratives" of small individuals,the films'aesthetic implication seeks to reflect the initial,crude imagination of the world of individuals,which created the movie text of "youth with self".Chapter three,"Freedom and bondage in the aesthetic world",takes "Freedom"and "restraint" as the theoretical key words to investigate the aesthetic implication of domestic youth films in the unity of opposites,then to see how they face "nostalgia","material desire" and "face" in shaping the image of youth.In these Youth films,they feel the beauty of the simple years that have passed away,and indulge themselves in this nostalgia,and the younger generation is bound by the memories of the past.Under the influence of the current consumer context,material abundance brings unprecedented freedom to young people,and makes their self-development even more subject to material constraints.The relations between young people and their parents,lovers,friends are one by one smeared with a strong utilitarian color.The revelry of popular culture,could make many young people infatuated with the "face"of the star,but obscured with the hidden cultural value.As one of the subjects of youth films creation,star idols should be unfettered by face value,improve their aesthetic quality and specific aesthetic ability,so as to live up to their beautiful youth.Chapter four,"New aesthetic vigor in the context of Consumer Culture",explores the methods and paths of cultivation and promotion of domestic youth films in the face of the negative impact of consumerism on Youth films.At present,there are quite a number of "suspended" youth films in China,which do not pay attention to reality or are seriously divorced from reality.If they want to have new aesthetic vitality,they must "fix the faults".The present youth films imagine,narrate the story of youth growth,with weak political significance.They show a tendency to go rid of politics,which reflects the problem of "is and is not" in the aesthetic implication of youth films."Family affairs,state affairs,world affairs" are mostly related to politics."Wind,rain,reading,reading" is more about aesthetics.Our youth films should strive to combine the two naturally.The youth films can radiate the new esthetic vigor in the consumption context.