Study On Film Director Art Of Feng Xiaogang

In the1990s, Chinese film started to experience a slump. Feng Xiaogang drewChinese audience back to cinema. He became the practitioner, the pacemaker and thecrier of a kind of new film scene. Feng Xiaogang’s creation can be divided into threestages according to different styles. The three kinds of image styles are all marked withconspicuous “Feng’s stamp”, and carry the communication relations between audienceand culture in social evolution and cultural progress. When it provides entertainment foraudience and make them laugh, it also arouses people to think and focus on theconstruction of social spirit and the ethical construction.Feng Xiaogang is well-known to audience as the status of a director of films shownduring the Chinese New Year. He calls his own comedy as “serious comedy”. In therestructuring period from the planning economy to the market economy, Feng Xiaogangseizes the lifeline of cultural and social psychology in the restructuring period, replacesthe grand theme about cultural reflection with comedy works to show the features ofsmall people and get close to life, including the Dream Factory, Be There or Be Square,Sorry Baby and Big Shot’s Funeral.“Feng’s humor” has the distinctive features:Realistic problems in the society are solved in the bantering way. Meanwhile, it givesvent to the feelings in the mind of audience. The works in this period makes the tensionand impact in conventional narration disappear. Instead, it attracts audience’s eyeballswith the plots of literary creation.Feng Xiaogang’s creation of serious play also has unique features, and he callsthem “funny serious play”. The works that he created in this period include A Sigh,Handphone, A World without Thieves. In these works, it still keep the humorouslanguage style of “Feng’s comedy”. The reason why they are classified as serious playis attributed to the profoundness of the theme. Feng Xiaogang’s creation has beeninvolved with the issue about social morality and spiritual level. The works in thisperiod are not only banter and resolution, but also make audience think more.Meanwhile, it steps into a high level in the continuity of narration and the discussion ofspace.The third creation period of Feng Xiaogang is the creation of “Feng’s sensational film”.In spite of the conspicuous deficiency in the narration text of the Banquet, it makes audience see Feng Xiaogang’s ability to drive audience’s seeing and hearing as adirector. The films Assembly and Aftershock initiate the new mode of Chinesesensational film. With the foothold on the civilian’s viewpoint of small figures in thespectacular narration background, it is a kind of brand new challenge for previous bigstars and great production.1942covers politics, the nation, the country and the people.These “Feng’s sensational films” are all marked with conspicuous Feng’s stamp. FengXiaogang has figured out the mode of sensational films that have unique Chinesecultural features and show the values of the mainstream culture in China. It is a newenlightenment for the development of home-made films.