A Study On The Narrative Discourse Of Domestic Youth Campus

As we all know, in the field of film, the development of science and technology stimulates and promotes the boom of Hollywood blockbusters. Then, the audience have aesthetic fatigue towards the “Grand Narrative”. After that, dropping of ratings triggered the rise of a new type of film, which is called youth campus film. Youth campus film attracted a large number of audience at the beginning with its relaxed and humorous narrative style. Since Chinese movie entered into the new century, on one hand, its mass culture reached a flourishing stage with an unprecedented number and significant status; on the other hand, the mainstream of mass culture became popular with youth quickly, especially as a new generation of academic director have sprung up rapidly, which become a new force that could not be ignored. They no longer give priority to the rational and enlightenment "middle-aged" culture, but constantly present the shooting tone of “pink campus” with “cute” elements, which is full of youthful vitality.. So, the youth culture gradually becomes the mainstream, and youth campus drama ratings are increasing.This thesis takes narrative discourse of youth campus film as the research subject and breakthrough point, and take the several youth campus films in recent years as the research object, the author analyzed the cases of We Will Eventually Lost Youth Fleet Of Time and Those Years Together We Overtake Girl and other movies, with and attempt to analyze the direction of the narrative discourse of youth movie under discourse transformation, and type the youth campus film.This paper is divided into five parts, the main content of the first part concentrates on the focus of the narrative discourse of the campus youth movie, mainly analyzing the nostalgic cultural identity of current campus youth movie and its necessary prosperity. The second part studies the narrative time of youth campus film, telling the hurry and precious youth mainly from the fragmentary time sorting and shortness of the rhythm. The third part studies the space of youth campus film, narration mainly developed from the creation of artistic conception in the theme of youth and the special narrative space to show real campus youth. The fourth part focuses on the reasonable cohesion and use of time and space of director for youth campus film in the youth the model of nostalgic sense of space and time. Last part is about the youth campus film narrative perspective, with "I" as the body of the youth’s witness, taking "third party" calm reflection or youth to "we" of the collective image to enrich the meaning of youth.