| At the end of the East Han Dynasty, the central plains area was torn by flourishing powerful rulers, with each maintaining an army and dominating a region. In the vying for state power, Wei, Shu and Wu, the well-known three kingdoms, gradually formed the triangular balance of power. The Romance of the Three Kingdoms, one of the four famous classical novels, exactly represented the bloody and dusty battle scenes in the Three Kingdoms Period as well as some all-powerful heroic figures who led the tide. Among them, Tsao Tsao, an able scoundrel, would rather betray the whole world than be betrayed; Liu Bei, a wise king, devotedly loved all the people and animals, and was courteous to the wise and the scholarly; Zhuge Liang, the sagacious prime minister, served his country devotedly till his death; Guan Yu,a righteous man, was fortitude and loyalty. All these figures revealed that heroes'great talent and resource were all in the Three Kingdoms.It has experienced more than six hundred years of the general acceptance since its achievement, during which, it was presented to the public in various forms, such as books, Chinese folk art forms, Chinese opera, painting, film-video and so on Film-video, hailed as "today's top media hegemon", brings the vivid visual feast to the audience by its intense visual impact and strong attraction; therefore it has gradually become a cultural survival state and main lifestyle for the public entertainment.Since the 1990s into the 20th century, with the innovation of the computer technology, audio-visual technology and information processing technology, the theme of the film-video communication about The Romance of the Three Kingdoms has reached its maturity and prosperity period, promoting the transmission of the novel up to an unprecedented height and degree. Consequently literature studies in China shines a wonderful and conspicuous landscape.If the teleplay of 1994 version builds a bridge between history of the Three Kingdoms and the real audience by means of material representation, such as picture and sound effect, we can say that Yi Zhong tian's taste of the Three Kingdoms does the same thing by means of ideology such as human nature and cultural connotation, so does the movie named Red Cliff by means of globalization. Therefore the paper on The Romance of the Three Kingdoms in the recent two decades focuses on film-video communication. We will discuss the film-video communication and its value realization on the Three Kingdoms, by the reading of this three key videos. Therefore, the whole thesis is divided into four parts and the following is a sketch of its contents.Chapter one made a deep comment on the media spreading of the three kingdoms in recent twenty years by analyzing the feasibility of the media communication exploring the features of the media communication and generalizing the works in recent two decades.Chapter two reviewed the classic work—the romance of the three kingdoms of the 94's version, from the point of the creative theme, adapted plot and the image breakthrough.Chapter three studied the film-video communication and the value realization through the multivariate reading of the Yi's taste of the three kingdoms in the program named Lecture Room.Chapter four discussed in depth the subversion of the tradition and the adoption of the new angle made by the movie named Red Cliff, and further more, made a globalization reading of the Three Kingdoms. |
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