| Under the influence of globalization, Chinese films, due to the same character and cultural tradition, display the commonness in the national culture identity as well as the cultural differences because of the regional differences, different acceptance of the Chinese and western culture, and different historical and political background. With the medium of the film, they express the common topic of"Image China".Taiwan and the Mainland, as a"life community", are experiencing the transference from the traditional society to the modern society. Feng Xiaogang's films, which combined the national cultural resources and the commercial strategy of"drama", created a commercial film mode with Chinese characteristics. While Ann Lee, with a good study of Chinese traditional culture and western education background, created a unique mode of the perfect combination of the art and the commerce by combining the traditional culture, commercial strategy and the western recognition.This dissertation consists of introduction, the main body including Part I and Part II, and conclusion. Part I of the main body will be a cultural study---Feng's and Lee's films in the multi-cultural context. Part II will be a narratological study---the differences in the narratology of Feng's and Lee's films.In the introduction, a brief introduction is to be made to the reason why I chose this topic, the literature review of the research on Feng's and Lee's films, the theory applies and the original points and its value.From the angle of cultural study, Part I of the main body will probe into the cultural differences displayed in Feng's and Lee's films under the influence of the globalization. It is to be made up of two chapters. The first chapter is an analysis of the conflicts and the blending reflected in Feng's and Lee's films in the multi-cultural relationship. Their films, closely connected with nowadays social background, political environment and regional cultural characters, embody the blending of the modern commercial culture, traditional culture and the western culture, etc. And in the blending of the cultures, national culture is the foundation while foreign culture is the token. This chapter is to interpret the culture in their films from the following three aspects: Feng and Lee in the common cultural context of the contemporary film, Feng and the Mainland's disconstructionism trend, Lee and the internationalized cultural and political environment of Taiwan. Chapter Two will be mainly about how Feng and Lee deal with the consumer culture and ethic culture in their films. Modern industrial society makes them tend to choose the consumer culture full of desires, but their films cannot be independent of the tradition culture concealed in their bones. Thus the discussion will be made from the aspects of the consumer culture and the family ethics.Par II is going to investigate the commonness and the differences in the narratology of Feng's and Lee's film. Their films are closely connected with the application of the traditional Chinese literature narratology. It also includes two chapters. Chapter One is an analysis of the surface vulgar narratology and the hidden elite narratology from the perspectives of the sense of the populace, metropolitan, and elite narratology in their films. Chapter Two is to explore the similar but not identical legend narratology in Feng's and Lee's films from the angle of the transference from the vulgar narratology to the legend narratology, the vivid and fantastic plots, and the visional and magnificent space. |
