A Comparative Study On Franch Author Film And Chinese Scholar Film

This thesis, focus on the phenomenon of the literary transformation within film which happened in the 20cn. A large number of scholars and authors joined in the activities of creation for film in that time both the Orient and the Occident, which bring about literary skill and ideology to the film creation, and made people get rid of the traditional bind that means the movement from story to film is a one-way street, people may also realized the diversity between film and literature is possible. The most attractive types within that diversity are Author Film and Scholar Film, the former arise from France New Tide in the 1960s, and the latter originate from China in the 1920s and 1930s.Though these two kinds of films both came from literature, yet they show some complete differences to their audience, these differences were due to the distinction between their national literature and culture, perhaps the circumstance they grew up also. Author Film is impassioned and aggressive, but Scholar Film is pregnant and experienced and prudent. How can I express these complicated differences clearly in such short paper? I think it should start from the two kinds of films how to deal with such items as literature, poetics, society pattern and philosophical trend of thought.Compare to Author Film's systematical practice and research, Scholar Film of China, as Chinese one tributary film of school, though from film early to appear already, but has been leaning towards and occupying a corner all the time for a long time, has not got the abundant attention and definite . It does not become systems that the theoretical research and practice to Scholar Film, and the scarce enough studying of inner link with China classical aesthetics to aesthetic connotation of Scholar Film. This text purpose in proceed with aesthetic connotation of the China Scholar Film, probe into these films and classical millennium complex of aesthetics, and mainly from feeling and setting happily blended, the actual situation born, implicit to is it make use of to accumulate, dull these classical aesthetic category start with, analyzed Scholar Film and classical inner link of aesthetics naturally, then analyzed the mirror language characteristic of Scholar Film, the deficiency of Scholar Film, and has analyzed the important meaning in film development of Chinese nationality of the China Scholar Film mainly. Let a hundred schools contend on the movie circles of our times, under the situation that opinions vary, make a general survey of the development path of the Chinese film, face globalization or modernized realistic linguistic context with deep feeling, is devoted to the integration of the spirit of culture and arts between east and west and modern transformation of traditional aesthetic spirit. Scholar Film of China, shoulder heavy responsibilities. It is one of national ways that can develop China film, and can occupy one seat on the movie circles of the world, then really embody Chinese nation's immortal spirit.The conclusions are drawn as the following: As a kind of new art, film can free themselves from the status that dependency to literature by means of draw on the experience of the good skill and thought of literature, and finally film can achieve their ideal goal. Then I also point out the different destiny of two kinds of films according to their creator's attitude. And I wish to study that, as comprehensive art merchandise, film how to deal with the contradiction between art and market. Maybe Chinese national film that is finding their own way can draw on some experience of the history of the Author Film and Scholar Film.