The Plight Of The Sixth Generation, Lost And Breakthrough

Since the1990s, the mainland have sprung up a batch of film industry the man who was born in the60s and70s, and in the80s of the Beijing film academy, the central academy of drama, the drama education of accept Cenozoic film director. They all to the edge of the cynical words and the" independent films "In. the special way out of film system, free outside or in the state-run movie production agency within the narcissism of color is individual writing, or to change their own survival and creative environment and showed a return to the mainstream discourse and seek audience recognition of the attitude.In recent years, as the sixth generation of film director creation increasing influence, and critics at home and abroad and growing more concerned, except for some specific analysis and film director personal works outside, also have some of the "sixth generation" directors of the creation of the research achievements in theory.The paper is divided into four parts to explore the sixth-generation director’s development and growth. The first chapter is devoted to the1990s film world of China mainland, there were a group of young film artists, who were born in the1960s or1970s, and studied at the major film institutions in the late1980s, such as the Beijing Film Academy. Central Academy of Drama, Shanghai Theatre Academy. They accepted new Western movie thought the influence of learning a new generation of film directors of the Western film theory. They are differ from the fourth generation of the mainstream discourse, unlike the fifth generation of folk plot, arbitrary sway the youth self-describe their youth Story, wanton, and they took the road of their independent producers free wandering in the system. Most of them received numerous awards abroad, but few people interested in the country, confused and lost, they are eager to return to the embrace of the mainstream system, but the system can not adapt to their strong and persistent walking their own unique road to find the road of self-movies, they are gradually precipitated rising generation.The second chapter is devoted to director becoming increasingly visible as the "sixth generation", director in the major international film festival on the gold and silver medals, and foreign media beginning to focus on such a group, the exposure under the spotlight,"Sixth Generation" become to the water surface. Such a special group has also attracted strong concern of the major scholars of the academic and research interests, with gradually increased their work and their impact of international technology diffusion, the domestic film industry in addition to some of the director and film specific Analysis, one after another some of the "Sixth Generation" director of creative theory of the overall study results.The last century, the French New Wave movement in China since 1980s, the sixth generation of Chinese film, for comparison between the two, which is still a relatively new research topic. Chinese film market in the heart of troubles behind it is the endless void of large areas of erosion, under such internal and external status of the film, it is necessary to look carefully at the reform of the French New Wave films of significance for their domestic film, and the world influence and impact of the film industry. The significance of the French New Wave films of the revolutionary movement is the overthrow of the past, and future development of forward-looking, we need to do a combination of research with the sixth generation of film directors. We must hope for the future of the Chinese movie ignited a new generation of development above. In addition, the relationship between the two, apparently, the former for the latter has a huge impact, while the latter accept the heritage, but also consciously presents quite different from the style of the former orientation.The third chapter is devoted to the30,40years of the last century, modern realism and critical realism of film industry in China has brought creative peak. To the1970s and1980s, the fifth generation of filmmakers for the Chinese film on the major international film festival awards, the award-winning, fame. Addition to the fifth generation of the rich artistic talents of creative passion contracts factors,"Fifth Generation" of film is more benefit from the system loose institutional policies and culture, and cultivate for film development."Fifth Generation" filmmakers still remain at the box office of the domestic film market guarante an endless stream of good works, still occupy the box office throne. Them as an occupied half of the mainstream creative groups, and later the impact of the new growth can not be ignored, of course, this effect is both positive promotion, but also has a negative lazy negligent role. For the comparative study between different styles in this new and old generations filmmakers is inevitable, but also the most direct and necessary.The fourth chapter describes the extension of the sixth generation of exploration within the system and institutional development through the comprehensive analysis of internal and external reasons, to identify the crux of the sixth generation, and in the future development of the road and have breakthroughs and improvements.This article named "the plight of lost·breakthrough-the" Sixth Generation "director’s thinking is based on the film studies a practice of the theoretical assumptions. The methodology followed is a combination of impact studies and a parallel study to compare the movie, contact the elucidation of research and research, focusing on the "Sixth Generation" film’s subject matter restrictions, institutional oppression, difficult to break through the status.