An Interpretation Of Lou Ye 's Films From The Perspective Of Authors'

"Auteur theory" is taken as the entry point, the analysis is divided into five chapters to write about Lou Ye’s film works, a "sixth generation" director, and trying to find one of the deep structure.The first chapter describes the origin of the study, a literature review to comb the "auteur theory" and the "sixth generation". The second chapter focus on Lou Ye and his learning path as a film director. Start form Chapter three, I conducted a thoroughgoing read of Lou Ye’s work, including "Weekend Lover"(1994),"Do not be Young"(1995),"Suzhou River"(1997),"Purple Butterfly"(2003)"Summer Palace"(2006),"Spring Fever"(2009),"Flowers"(2011),"floating City and Mystery"(2012). Chapter four examines the motif of his films, including ruins, city, street (river), as long as love and desire. Based on these facts and analysis, I come to the "deep structure" of Lou Ye’s film as an end.There is a significant turning point in Lou Ye’s film making. The self-proclaimed "do not lie" camera is getting low-profile from high-profile, developing a thorough and smooth classic narrative. His film employs hand-held photography, highly stylized footage and monologue. He is wondering between romantic world and realistic world, filming individuals’ intercourse and coalition with the world from a private perspective.Like his peers of the sixth generation directors, Lou Ye’s film was born on the ideological ruins, trying to pursue the meaning on the debris and their shatters. Personal contact and the intimacy served to emancipate the suffocating stray. Lou Ye dedicated his talent to the beloved cities through his detailed description of the city. However, he also perceived the loneliness and despair of those city dwellers. They searched salvation in love and sex that didn’t protect them from long lasting reunion with people they love. Once passionate love faded, paradise lost. The powerless salvation leads to aesthetic anxiety. However, contemporary audience should be grateful for the delicate whisper so close to our souls derives from his film. The director leads us to confront the rough texture of real life, by emancipating the frustration of individuals in the present, to realized the purpose of tragedy.