Eaves Under The Lighting The Image Of The Family In The1980s' Film

Since the nineteen eighties, with the deepening of reform and opening-up, Chine se society have happened great change. In the background of social changes, family a s the basic social cell also produced tremendous change." Home" has a double mean ing:" home", the life of refuge, tired soul dwelling place, but" home" also has a phys ical meaning. Family ties up with everyone's happiness and sadness, in relation to the individual's happiness and pain. During eighty times, Chinese film meted its golden age. In this period, Chinese mainland movie creation gradually developed into a new period. The film is a narrative art which represent the human survival and the civiliza tion process; When movies marry family themes, they will show us a unique eighty t imes. Therefore, this paper tries to quest for which directors as the social elite in eig hty's pursuit the Enlightenment and Modernity spirit, and which influence the social c hange. Since the family image changes is so complex in the film, this article can on ly choose several major aspects in the family image change. This paper is structured as follows:the first part is the introduction part, focusing on the eighty's social situati on. Included the political, economic, thoughts, culture and film art transformation in this period, as well as the secular changes in life and the change of family concept a ffected by the social change. In the second part, I will show the family space of fro m three dimensions:the ark, the imagine of the private domain, the repressed territor y, to interpreted the family space changes in the eighty movie, as well as the reason of this change. The third part present the history changes in the relationship during family members. I mainly analyzed the father-son relationship and marital relations. H ere the fourth and fifth generation directors shew the complex process:father trialing, killing father, seeking father complex, as well as the desire to break the traditional marriage and family relations, reconstruct the modern family relationships as the basis of freedom and equality. In the fourth part, I try to analyse directors in eighty time represented three different aesthetic orientation in the traditional ethics. The fifth part is women and families. Women with its gentle became the family's savior, while wo men in feudal families suffer from the worst. In this part, I attempted to analysis the different female images in the eighty times' movie, to interoperated the confusion in the female image construction. In the conclusion part of this paper, the thesis was s ummed up.