Narrative Mode And The Value Of The Demands Of The Underlying Film

The name of the Low Class originates from the concern to "the Sixth Generation" directors. Since the 90s of the last century, the Western enthusiasm for the films of the Fifth Generation began to subside, while a group of young directors named "the Sixth Generation" become active in China's films. However, due to policies and systems, capital and technology and other constraints, the film of "the Sixth Generation" in home haven't yet presented a splendid sight. "Flowers bloom in the wall but the the fragrance flutters outside." The films of "the Sixth Generation"obtain foreign film's concerns and approves firstly, after which the tendency reverses, and they cause the discussion boom. It is through the "Sixth Generation" film development, a strong trend that the study of the Low Class films becomes common practice. Therefore, the Low Class films of this article are based on the "Sixth Generation" director's works, including films reflecting the life of the Low Class this year.Looking the study of the Low Class above, mostly from the outside dimensions of the film, such as technology, marketing strategies, despite its internal research, but most just confined to individual directors and individual types, yet the lack of the recent past included a a large number of outstanding films, including the bottom of the film's overall comprehensive, systematic analysis and comb, and from the film itself, the narrative mode of micro-level, starting to explain the political aspirations of the bottom of the film sustenance, and thus reflecting the deep humanistic concern, and this is precisely the point of entry and research of this article.This article, according to such a logic trial-works outside (narrative mode)-works inside (the spiritual world)-producer outside (aesthetic pursuit)-producer inside (value proposition) is divided into four chapters. The first chapter starts from" the Sixth Generation "films as a whole and make integration and classification to universal narrative mode included in most works, from the grand narrative, alienation of power and discourse, and to depart from the traditional heroes of three sixth-generation films in terms of narrative analysis, and strive to, through surface, contact the spirit of the kernel of the movie itself. Chapter II starting from the concrete works, concrete works through the analysis and description of the underlying image shows the true reality of the spiritual world underclass. Chapter III based on the analysis of Chapter I and Chapter II go back to its own aesthetic pursuit of the Low Class films. The fourth chapter on the basis of aesthetic pursuit of sustenance films of the third chapter explores the underlying political aspirations.