On The Spectacle Of Contemporary Chinese Film

"Spectacle" is the performance style features and aesthetic pursuit of contemporary Chinese film in the early 21st century .It indicates that contemporary Chinese films have changed from the "narrative-film" to the "picture-film", which is a tremendous shock to the Chinese traditional narrative-film, productive ideas and marketing strategies, and demonstrated a new style pursuit. The "spectacle-film" is the product between the Chinese film producers and viewers in the new era.Meanwhile, it is also the product of that Chinese film producers consciously merge with the world, the international production and marketing of the product strategy in the globalization, with distinctive character.The introduction of the thesis summarizes the emergence of this style and various names from different scholars. The first Chapter analyzes the specific characteristics and concepts with the method of Text analysis. First section of this chapter shows the features of "Hero" in a comprehensive and detailed interpretation, which is a typical version of spectacle-film. "Hero" is a prologue to the Contemporary Chinese spectacle-film: in the narrative style, this film used a unconventional narrative pattern and narrative perspective; in the scenes, action scenes and scenes of the film deliberately pursue a spectacular coastline of the audience as well as to the visual impact; In marketing strategy, the producer, who complies to the principle of the production business, has not only created a number of "firsts" of Chinese film, but also achieved good results. Section two firstly explains the "spectacle" phenomenon in humans' cultural history. Then, it focused on the analysis of the "spectacle" concept of meaning. Guy Debord, a French theorist, first understood the coming of the consumer age in the Western countries, and introduced the concept of "social spectacle." In the study of the film, the concept of "spectacle" was first presented by Laura Mulvey, a British film theorist. She understood and analyzed the "spectacle" phenomenon from the perspective of "feminist". Finally, the thesis defines the broad concept and narrow concept of "spectacle".The second chapter is divided into three sections. This chapter mainly studies the characteristics of the spectacle-film from an aesthetic point of view. The first section is mainly from the perspective of languages to analyze the features of the spectacle-film. First, it studies the changes the way of people's recognition by analyzing the characteristics of film language and pictures. Then, the author analyzes the aesthetic features of the narrative-film from the perspective of the history of film. Secondly, the author analyzes the detailed aesthetic pursuit of the spectacle-film in contemporary era from the language, compared with the narrative-film. The second section, it mainly analyzes the features of spectacle-film from the film production. First, the author holds that the traditional film production follows the idea of "photo-realism" to produce films. She draws this conclusion on the basis of analyzing Bazan's theory; secondly, she analyzes the changes of making of idea of the spectacle-film. Today, digital technology is widely used, "virtual reality" gradually replaced "photo-realism" and become a major film production ideas. The third section, I study the features of spectacle-film mainly from the perspective of marketing. Spectacle-film attaches great importance to the film business operations, and marketing behavior with the preparations for the entire film, shooting after screening and product development from beginning to end.The third chapter discusses the emergence reasons of the spectacle-film mainly from the perspective of both audiences and producers. The first section, firstly, the author studies the receiving background of the contemporary audience from the popular culture, Hollywood movies and the media environment; Secondly, she studies why people go to see the film and what they see in the film, and she holds that the spectacle-film meets the needs of contemporary people to some extent. The second section, firstly, the author analyzes the specific historical background of contemporary film production; Secondly, she studies the changes of production in terms of film content, functional analysis and other different aspects. The author holds that spectacle-film is a conscious choice of film producers in the new backdrop.The fourth chapter mainly discusses the problems of spectacle-film in the perspective of spectacle and narrative, technology and the arts, creative and realistic and the entire film industry virtuous circle. There are still a lot of inadequacies. We need to remain sober-minded to analyze.