Watch Chinese Movie Of The Opera Complex From Generation Director

Since film entered into the land of China in1986,the film has forged a predestined love with drama. From the birth of the first film "Ding Jun Shan" to now, the domestic film has gone through108years. As the eighth art form, no matter on the structure, narration or technology, film has changed dramatically. Spanning the art developing process of intergenerational director, we can see that Chinese film directors have always wanted to get ride of the powerful the impact of drama on movie. Drama’s influence on movie accompanied by "divorce dramas and movies" theory gradually weakened, but as a Chinese, Chinese generation directors are in essence flowing in a theatre complex, from the first generation of director to the sixth generation directors, never fade. Drama’s influence on movie, movie’s reference to the drama, from the beginning of dramatic films till now faded into the use of the elements of drama.Based on generational director for this new proposition, this thesis is divided into six chapters. The Chinese mainstream intergenerational director as the historical context, the author vertically combed the development of intergenerationai directors’ dramatic complex. Each part mainly from aspects of the growth background, performing arts, drama creation and the audio-visual language discussed each generation of director’s Theatre complex. The first part focused on Zheng Shicuan and Zheng Zhengqiu as examples, analyzed the embodiment of drama in this generation of director’s works, and summed up the relationship between film and drama in this stage is the dramatic film. The second part with the same pattern, taken representative directors’works such as Fei Mu’s, Cai Chusheng’s, etc. as examples, discussed that the second generation of director would no longer attach the film to the drama, and the drama complex was mainly reflected in the movie performances, scripts and audio-visual language. The third part, on the behalf of the third directors such as Xie Jin, Li Jun and Xie Tieli, discussed that the third generation directors were in pursuit of the Oriental Mei art and western theory in the performance theory; script creation theory began to learn and identity Italian theory realism theory, but their understanding of Italian new realism is one-sided, just on the surface; play still was the essence of drama texts, audio-visual began to get rid of stage mode and pay attention to the lens language. The fourth part, Wu Yigong, Huang Shuqin as representative, presented that the fourth generation director asked film and drama to divorce and broke the idea that drama structure was the pursuit of natural aesthetics. The fourth generation of director is the combination of traditional drama model and western film theories. On the one hand, they pursued Bazan’s documentary theory; on the other hand, they followed the stylized movie type of drama. The fifth part, such as Zhang Yimou, Chen Kaige for example, demonstrated that the fifth generation director returned the dramatic model; they did not advocate the movie get rid of drama. On the subject, they might even deliberately choose drama subjects, but on the performance and the audio-visual language, the fifth generation directors’drama trace is very light. Natural performance and the audio-visual language of internationalization are the sign of the fifth generation, compared with the fourth generation director before, the fifth generation directors’work are more recognized by international film field. The sixth part demonstrated the most young Chinese direct, Jia Zhangke, Lou Ye and Ning Hao, etc., pursued the western new realism, no matter in the performance, plays or audio-visual language, the pursuit of maximum degree of personalization. Drama elements in the sixth generation directors’ works are more presented.Through the above analysis, we can see how Chinese film downplays the drama brand step by step and never to abandon this kind of drama; how to absorb the western film theory step by step, and never completely accept the western film theory; Chinese film how to retain the traditional drama unique artistic charm, and how to abandon in the modern art is not adapt to the traditional art. In this thesis, through the analysis can be seen, the Chinese film want to bloom on the world stage, not only to learn advanced western film theory and film technology, but also to learn how to combine the two together, with the help of China’s unique dramatic elements, is a new topic for the today’s Chinese filmmakers should consider.