The Shaping And Forming Of The Heroic Vision Image In New Century Movie

This paper mainly discusses the vision Graphic image of the hero which is shaping and forming in Chinese movie in the21century. To base on the global background and use the famous contemporary Chinese director Zhang Yimou, Jiang and Feng Xiaogang as the example, with the identical perspective of modern cultural, to carefully examine and combine the general characteristics and individual characteristics of the hero in Chinese movies. It is also stating in this paper that three major types for shaping and forming the Graphic image of the hero in Chinese movie which called "collective hero image","the grassroots hero image" and "personal hero image". Besides, it will make the concrete and in-depth analysis about the three major types with the three directors’major works in this paper.Shaping the image of hero graphic is an important kind of nonverbal symbols, in the movies it becomes the important means to shaping roles and one of the basic elements to express the culture of movie. It is an important link in the film works, the graphic language has varies symbolic meaning and cultural communication effect in the film art, and present distinct aesthetic significance and artistic value. Graphic language both has the symbols characteristics in normal life which called "refers to" and "mean", and the unique features of artistic aesthetic, ideographic symbol and popular transmission.In movie, the "refers" element that shaping the hero image shaping is namely the scene modeling, color, material and design which constitute the modeling element of hero image so that it forming a kind of visual effect while transmitting the movie. The symbol of hero image in movie "referred to" the ideographic function is mainly embodied in shaping film character image and convey the film art atmosphere, specifically, the movie hero image can position characters’status, performance figures, convey emotion, hint the situation and the fate of character, reflect the general background, foil atmosphere, expression styles scene, and push the plot development. In the process of transmission, the communication of the hero image is affected by the "code" of the consciousness and the audiences "the decoding" psychology influence. On the one hand, the style of movie director expression and screenwriter concept to convey all of the hero of the movie for the image of the "code" symbol; on the other hand, the audience’s psychological of aesthetic experience, emotional resonance and imitate conformity forming the "decoded" mentality of the hero image.The paper is composed by preface, main body and conclusion. It can be divided into four chapters.The introduction firstly clarifies and defines the two important conception "hero image" and "graphic language", and reveals the logical connection between them. It is the production of modernity and globalization movie. In the age of globalization, the Chinese directors face a common problem that is the puzzled for how to present the contradiction between the traditional Chinese culture and western modernity in the works.The first chapter in main body, firstly survey and analyse the graphic language and the general characteristics hero image, in addition, it points out that the application in the movie. The second chapter uses Zhang Yimou’s film as example to analyses the common feature what called "collective hero image" is present the Chinese film, and points out that their new historical martial arts films have common "collective hero image" of art graphical features. Concrete analyzing of the "hero", the curse of the golden flower as ","jinling13earth" embodies the traditional to China culture deeply the modernity of reflection and critique position. Next is the movie graphics for zhang form language analysis, through the form language on deconstruction and restructuring collective hero image. The third chapter Chinese film from the perspective of entertainment modernity discussed the main representative feng’s film "the tangshan earthquake","the sincere not faze" and the "rally number", and that the business is a consumer society culture needs, feng xiaogang’s works in pursuit of modernity ideology and artistic methods while, pay attention to adapt to the mass cultural identity entertaining requirements. In the fourth chapter director Jiang’s film "devil come","the sun also rises," and "let bullets fly" as an example to see personal hero image in the movie in the overall features. Concrete analysis in the movie the hidden graphic symbol of western modernity and the east conflicts between cultural identity, and points out the movie which embodies the Chinese movie daily of the modernity of characteristics and the author individual character style.In short, as an important kind of culture phenomenon, while transmits the features of national culture worldwide effectively, the Graphic image of hero not only embodies the national spirit, but also carry forward the traditional culture. The graphic way can also reflect the consciousness of consumerism through the setting of visual landscape for leading the fashionable consumption, highlighting the symbol value, cultivating the conscious consumption, constructing the meaning of the myth, guiding the pattern of consumption.