The Word Of Espionage

Limited to its own development, there are only a few studies of spy films since 1980s. So this paper makes spy films in the new period as the study object. The first chapter explained the reason of named "spy films", then probed the spy film had developed into a genre film in theory and practice in China. The next three chapters probed the characters personality, narrative mode and violence aesthetics. Firstly, the new heroes are no more conceptual and stereotyped but carry a lot of humane emotion and complicated personality. The enemy spies are also showing complex characters, and the identity of the enemy is difficuilt. The common person is not the genre character, but the common person began to play a prominent role in the spy films in "17 years". Secondly, the narrative mode in the new period has inherited and developed the narrative mode in the spy films in "17 years" ,which are "shelter with an open enemy struggle" , "openly and hidden enemies fighting" and the mixed narrative mode. Finally the torture and other violent means are artisticly changed had become a new aesthetic characteristics in spy films. Since the cultural revolution ended, the spy films had experienced a short prosperity in the 1980s, gradually eroded in the 1990s, and renaissance again in the new century. With the historical changes, the spy films should face the problem of genre combined with innovation. How the creators respect the laws of the genre, and also play the author's character? This is a problem of the spy film, and also all genre films'problem in the process of construction and development.