The Postmodernist Characteristics Of Chinese Ancient Historical Filmssince The New Century

Movie is a form of art based on image. Image can record a piece of history, also cancreate a piece of history. The relation of movie and history is such subtle. Movie is neverall about art, but an object impacted on the evolution of the society in20th. The history ofmovie was also the history of an age. Movie bore witness the style and features of aperiod, a national prosperity or decline and the collective memory of a generation. Thisform of art records the history for the descendant, and also can change the contemporary.Taking the last as a lesson is Chinese culture tradition. The social formation ofcontemporary China is different from that of ancient China, but the same spirit of culture isstill Chinese nation’s foundation. We also can get enlightenment from history. So theancient historical films are deserved to be researched, for their recreational functions andtheir educational functions.The postmodernism came from the west in the1960s has already penetrated intoChinese culture in a globalized world. The postmodernism theory also plays an importantrole in film theory. Contemporary Chinese ancient historical films as a significant genre ofChinese mainstream films showed the features of the times are worth researching, suchas overthrow and defiance, diversification perspective, consumerism, disappearance ofhistorical sense and so on. This research is significant for the development of this genreeven for Chinese mainstream films.The purpose of this paper is to research Chinese ancient historical films’ features insuch a complex background which is constitute with the coming of new century, reformand opening-up, the shock of western culture and film theories, the stress of Hollywood,and the postmodern context. Chapter one is about the relationship of movie and history.And do some simple research about film’s essence. Chapter two is about the basicsituation of Chinese ancient history films, including the definition, development history,and the popular reason. Chapter three which based on postmodernism research, is about ideology, narrative perspective, the transformation of heroism, the function of this genre,and cultural inheritance. Chapter four research aesthetic features of this genre inpostmodernism context。The first is visual-base and surreal aesthetic trend, the second isthe blend of various kinds of element, the third is the reversal of traditional historicalfigures, the forth is the complanation of significance.