On Current Development Of Chinese Spectacle Movie From The Visual Cultural Perspective

Subversive changes have taken place to culture in the world we are living since1960s, as a result ofwhich, visual culture rather than linguistics becomes prosperous. Image, dynamic or static, is becoming thewindow of many people to understand the world, such as movie，TV，network，advertising，photo，phoneand so on.1960s is a very important dividing line during the visual culture transformation.With the rapiddevelopment of photographic, for instance, digital compositing and movie magic, giant change happened inthe movie world, which realize the dream that movie transmit messages and illustrate the world by imageor video. Spectacle movie make the movie a complete fantastic kingdom. People’s audio-visual desires aregreatly met by the unpredictable effect.Simply, the born of Chinese spectacle movie was the result of digital movie technique and thecommercial run, which was influenced by the pace of world,however, it’s a necessary consequence of theChinese visual turn process. The structure of Chinese movie changes from focus on narrative to emphasizelandscape during1980s. About20years later, Chinese spectacle movie reached to a new peak pushed by<Hero>, which was released in2002. Chinese spirit was greatly enriched by numerous astonishingdomestic movies for a decade; a splendid picture came into being.Chinese spectacle movie as the main stream experienced a rapid development. It is pitiful that manymovies have not reached the expected goals, especially in the passed2011. In general, the theory ofChinese spectacle movie is not complete and deep enough, it is so young. Not only can guide the Chinesemovie industry practice and rich the basic theory of Chinese spectacle movie, but also good to maintain asound development if it has an analysis to the current situation especially the golden decade.This article is made up of five parts. The first part analyses the background for the rising of visualculture; The second part explains the rising reasons from cultural prospective; The third part briefly reviewsthe development of domestic spectacle movie and a classification for its one decade development; thefourth part deals with the cause of domestic spectacle movie; The fifth part shows the author’s opinionbased on the previous analysis.