Research On Supernatural Phenomena In Chinese Fantasy Films Since The New Century

The entire article adopts a "total sub total" framework to study Chinese fantasy films from the perspective of supernatural phenomena,mainly proposing and solving four problems:in the introduction,it is clarified whether supernatural phenomena can serve as the starting point and type of research for Chinese magical films;Can the methodology of taxonomy be used to deconstruct and establish a systematic research paradigm for supernatural phenomena such as characters,time and space,and power;Three questions are asked about supernatural time and space/power/characters: what are supernatural characters/time and space/power,what kind of visual mode they are presented in,and why they are presented in this way;After explaining the system classification,propose some of your own opinions and arguments on the issue and contradictions of supernatural phenomenon residues.Therefore,this article aims to explore the symbolic connotations,social significance,and aesthetic implications of observing supernatural phenomena from the aspects of form,content,and essence,revealing the inherent texture and ultimate demands of supernatural phenomena.Faced with the vast and complex collection of supernatural phenomena in Chinese fantasy movies,their inherent characteristics are also full of strangeness and disorder,and it is necessary to use the correct methodology to classify and understand them.From the perspective of "from nature/reality to supernatural/surreal" and so on,it can be inferred that supernatural characters,as symbolic actors,have diverse types of subjects and classification criteria;The transformation of secular time and space in supernatural forms,as the foundation of existence and movement;The supernatural force,as an important element of action and narrative discourse,has a significant impact on the overall structure and intensification/resolution of contradictions.The research paradigm of the triple classification of supernatural phenomena characters,time and space,and power will be elaborated in detail in the paper.According to the theory of "all things have spirits" and embodied aesthetics,the supernatural life that was originally an abstract imaginative symbol is realistically shaped into a physical form.And through this,it leads to the aesthetic experience,psychological analysis,and cultural tracing of the alienated body of supernatural life,and then delves into the texture under the guidance of body aesthetics,telling the emotional cognition and identity recognition of supernatural characters.Then,closely adhering to the central argument of "using humans as the scale of all things",establish the underlying logic and rules for "others" such as demons,ghosts,gods,beasts,and spirits.Time and space,as the foundation of the real world,are also the prerequisites for all stories in the magical world.There are three modes in the supernatural time form: extraordinary span,reverse time crossing,and coexistence of multiple timelines.By citing Lefebvre’s triple space theory,the supernatural space is divided into physical space(the material reality of heaven,earth,mountains,rivers,and city-state architecture),social space(civilization,history,and cultural customs),and spiritual space(dreams and illusions),and the supernatural space cases in Chinese fantasy films are compared one by one.The expression process of supernatural time and space is filled with the marvelous visual shock of Eastern beauty,as well as the psychological surprise experience established based on unfamiliarity narrative.There is a deeper "meaning" behind the supernatural form of time and space,which is "unity of things and me","integration of situations",and "blank space".As a created concept of "qi" and a "technique" endowed with various novel functional settings,both almost encompass all the incredible powers and wonders in magical movies.Furthermore,we explore in the language of film and television how "qi" and "magic" are visualized in magical films.Finally,we use "witchcraft thinking",Mc Luhan’s media theory,and the traditional Chinese concept of "harmony between heaven and man" to establish the logic for the expression and operation of supernatural forces.And explore supernatural forces as an extremely important "action element" and narrative discourse.Its profound impact on the original narrative structure.Under the premise of a classification framework,the expression of supernatural phenomena needs to balance three pairs of relationships: the relationship between digital technology and artistic charm,the relationship between natural concepts and ethical orientation,and the relationship between local imagination and exotic landscapes.In the process of deepening the localization construction of supernatural phenomena,it is necessary to build a community of imagination memory vision,create a unique supernatural cognitive schema for Chinese fantasy films,and continuously expand and improve the image of supernatural phenomena in the future where the quantity and quality of fantasy film creation will grow and improve.Finally,supernatural phenomena still need to break through the dilemma of "technologism","lack of meaning",and "excessive catering to the commercial public",implement the purpose of technology serving art,establish a deeper level of digital technology expression system,call on local aesthetics to reshape and transcend supernatural phenomena,and construct a supernatural worldview,supernatural system,and core values belonging to the East.