Research On The "Writing Other Countries" Of Films In Chinese Mainland Since The New Era

Since the reform and opening up in the new era,many foreign characters,foreign landscape spaces and foreign stories have begun to become the presentation objects of Chinese Mainland films,which have generated great repercussions in the film industry and attracted the attention of critics.This thesis chooses "Chinese Mainland film ’Writing other countries’ since the new era" as the research topic,which is based on this foundation.The "Writing other countries" in this article refers to the artistic presentation of foreign characters as heroes,foreign landscape space as the place of events,and foreign literature,film and television works as the object of remake or adaptation in Chinese Mainland films.Its essence is the creative imagination of foreign countries built by film creation and film viewing groups according to their own needs.It is both an artistic presentation and a cultural strategy of the group,in fact,it is the practice of self construction in the name of another country for self reflection,self recognition,and self expression."Writing other countries" not only displays the non native world,but also reflects the collective cultural mentality of the Chinese nation.Therefore,it is necessary to deeply investigate the source and motivation of this collective mentality,and provide practical reference and beneficial mirror for the future development of Chinese films by tracing back to the history of Chinese films.This paper takes image research,cultural research and comparative research as the main ideas,and integrates hermeneutics,reception aesthetics,text reading and other methods.While comprehensively clarifying and examining the appearance and causes of "Writing other countries" in Chinese Mainland films since the new era,it also makes a realistic artistic analysis and value evaluation of the height of its theme orientation,the depth of cultural scrutiny,and the beauty of artistic expression.In addition to the introduction and conclusion,the main body of the paper is divided into six chapters.The introduction begins with a theoretical definition of the concept of "Writing other countries",summarizing the origin and significance of research,research status,innovation,and research methods.The first chapter divides the "Writing other countries" of films in Chinese Mainland since the new era into the initial period(1979-2000)and the development period(2001-2022).Based on the cultural memory theory,this chapter analyzes and demonstrates the two forms of identity memory and emotional memory and their important academic value.The main function of identity memory is to confirm group identity;the main function of emotional memory is to express life emotions.The identity memory and emotional memory carried by "Writing other countries" in the initial stage have shown a basic trend from correction to determination and from catharsis to precipitation,respectively;during the development period,it presents a general posture of high and low respectively.The second chapter,guided by the concepts of "ideology" and "utopia" in comparative literature iconography,sorts out,analyzes and demonstrates various representations of "Writing in other countries" in Chinese Mainland films since the new era.It is believed that "Writing another countries" can be divided into two categories: visual presentation and metonymic presentation.Visual presentation also includes two types of representations,namely,the portrayal of the protagonist of another country’s nationality in the film and the representation of the landscape of another country;metonymic presentation includes film remakes of foreign film and television dramas and film adaptations of foreign literary works.And it carries out a practical analysis and value evaluation of its profound cultural mentality of using heterogeneous images from other countries to reverse recognize the self confirmation and strive to transcend the self of our Chinese ethnic group.The third chapter uses the contemporary philosophical concept of time and space to analyze and evaluate the time and space construction of "Writing other countries" in Chinese Mainland films since the new era from two levels: in terms of time construction,the overall principle of "Writing other countries" is to highlight the color of life.Compared with the time construction of non foreign writing,the unique feature of its time construction is that it superimposes the time experiences of more than two ethnic groups,resulting in a fixed image time pattern with philosophical significance and a background color of life.Its time consciousness is more three-dimensional and diverse,and has a universal aesthetic value for audiences of all ethnic groups at home and abroad to stimulate life time consciousness.The unique feature of its spatial construction is that it builds a "third polar space" that includes both spiritual space and material space,but also transcends both,through two ways of hybrid appearance and different positioning of characters,integrating and encompassing the universal spatial concepts of different countries or ethnic groups.The fourth chapter mainly analyzes and examines the reflective dimension presented by "Writing other countries".It is believed that historical reflection is mainly reflected in the expression of historical ontology consciousness that transcends the dichotomy between subject and object,and the tendency to reconstruct history(intended for contemporary activation)in "prejudice";cultural reflection is mainly reflected in the breakthrough of the regional cultural fence,the opposition to the convergence of Western power culture,and the continuous deepening of the reconstruction of our own national culture;the level of ethical reflection mainly involves the speculation on the egoistic/altruistic relationship,the reflection on the "unconscious" ethical confusion,the exploration of moral sources,and the analysis of ethical goodness.Chapter Five explores the causes of "Writing other countries" from two dimensions: the comprehensive impact of politics,economy,and culture,and the ontological factors of movies.There are three main political factors: the first is the shift of political discourse in China at the beginning of the new era;the second is that both the official and the public need a literary and artistic way to look back on history;the third is the impact of changes in international politics on the national mentality.These three points have provided the necessary political atmosphere for "Writing other countries".The main economic factors are as follows: first,with the advancement of reform and opening up,issues such as wealth,integrity,and efficiency have become the core of public attention,affecting the construction of the content of "Writing other countries" stories;secondly,in the early stages of reform and opening up,some producers developed rebellious emotions due to film economic policy factors,and projected them into the film story through the form of "Writing other countries".Another part of film producers,driven by a profit seeking mentality,attempted to use "Writing other countries" to achieve the pursuit of profits;thirdly,"Writing other countries" helps to expand the overseas film market.From a cultural perspective,people have gained a new understanding of the situation of other countries in the context of exogenous cultural shocks,and "Writing other countries" has become an effective way to respond positively to this shock;another cultural factor formed by the pervasiveness of post emotional phenomena is to create cultural products that meet the needs of the public through their own expressive characteristics.There are three main factors in film ontology: one is the boost of the historical evolution of world wide films,the other is the organic reference to the experience of other artistic forms of "Writing other countries",and the third is guided by the polysemous interpretation of film ontology.These three factors play a vital role in the generation of "Writing other countries" in Chinese Mainland films since the new era.The sixth chapter is a comprehensive demonstration and evaluation of the multiple values of "Writing other countries" in Chinese Mainland films since the new era.On the one hand,the more excellent "Writing other countries" films carry the organic shaping and display of the image of the Chinese nation,thereby constructing the cultural strategy of Chinese films in the context of globalization.It can also be used as an industrial strategy for Chinese film production,aesthetic expression and acceptance,and commercial consumption.On the other hand,some "Writing other countries" films also have drawbacks that cannot be ignored,such as logical confusion,artistic reduction distortion,the spread of vulgarization,and inferior imitation methods.The conclusion,based on the summary of the previous points,believes that the "Writing other countries" of Chinese Mainland films in the new era is an important symbol of the process of Chinese path to modernization of films,marking a clear path from "the world without me" to "the world with me" and then to "the world to me".Then,focusing on the actual situation of "Writing other countries",I will make prospects and propose specific suggestions for the future significant development of Chinese films: in the future practice of "Writing other countries",attention should be paid to balancing the relationship between commercial interests and artistic pursuits,adhering to the artistic norms of truth,goodness,and beauty,correctly understanding and properly solving issues related to cultural reference and organic cultivation,and effectively utilizing the image presentation of "Writing other countries",and tell a vivid and authentic Chinese story.