| In the present highly-developed video industry, music video, with its special audio-visual creativity, not only brings subtle change to the context of film production, but also influences the aesthetic taste of a generation.In all times, the human senses like seeing, hearing, touching, smelling, and taste have played important roles in expressing and receiving their feelings. From the moment when human beings began to use body languages to the birth of dancing, opera, theatre and film, audio-visual integration has become a normal way in emotional creation and information acquisition. The rock music which made’ releasing yourself’ its core and loneliness, violence, sex, war, drug, religion its contents was very popular in the1950s’ US and its hysterical yelling won world-wide responses. As the western businessmen made a good profit on rock music, the production companies began to make a great whoop and holler in the public media. In1975, the first real music video "Bohemian Rhapsody" by the British rock band QUEEN came into being as an AD on TV and it had won a great success for its creativity of satisfying people’s demand of audio-visual integration. In1981, a channel named "MTV Music TV Network" was established especially to broadcast music videos of such kind. From then on, music video as a new art of work which serves a complex of music and video has ushered in a spurt of development. In the1970s of China, pop music was at its peak in Hong Kong and Taiwan and people in the two areas were relatively open-minded. Thus this new form of art had been quickly absorbed and a large number of music videos centering on urban love had been produced. In the1980s, with the gradual implementation of reform and opening policy, a lot of new things swarmed into the mainland, among which the localized music video was included. At this time, a group of young film director began to make an attempt in this new field and some rock music singers like Cuijian became the first who owned music videos. With time on, China’s music video gradually formed four main types:story, artistic conception, documentation, and animation.In the early1980s, people’s mind gained its vitality after ten years’ stifling of thought as the popular music went into people’s life. In a seemingly free atmosphere, people enjoyed the new ideas and emotional stores reflected in the popular music. From then on, the popular culture, in stead of political ideology, gradually served as the mainstream of the time. Thus people of that period who were attracted by the songs and visual space presented in the music videos were inclined to accept a new audio-visual language different from the traditional film. It means that people were addicted with the pleasure of fast rhythm clipping, were likely to appreciate fragmented formation of scatted narratives, were used to the bold avant-garde characters and scene design and were accustomed to the symbolic and unreal artistic conception. At the same time, because of the music video, a large number of singers transferred from the TV screen to the movie and became a star of film, television and singing. At the time, no only did the audiences change their visual aesthetics under the influence of music video, but also the film directors were ready to accept this newly-born culture. At the beginning, they took music video production as their undertakings and they stepped into the big screen after some excellent works were produced. Among these directors, Zhang Yibai, Ning Hao, and Wang Yuelun were the three representatives. What they did was to integrate the rhythm style, narrative form, and scene design of the music video into the film. As a result, people were very fond of this multi-styled image reconstruction and the box office roared to a high point. Thus a lot of films which copied the style of music video emerged to occupy the market, the representative of such works is Hero, which emphasizes the visual, special and rhythem change to cater to the different tastes of the audiences. Moreover, as the number one entertainment in the foreign countries, music video paid much attention to its stylized visual packing. This kind of trend not only permeated in the foreign films but also bear fruits in the mainland and in a short period, dozens of film holding the banner of fashion and workplace emerged and created great visual shock to the audiences.As the new era comes, the domestic movie has broken through10billion yuan for two consecutive years. With more and more bursts of applause, people surprisingly find out that more and more "little" movies with low cost begin to walk into audience’s visions and compete with the "Big" movies. In the club of directors who has their movies box office over a hundred million yuan, five directors with their low-cost but high-quality "little" movies to compete the Big ones. And they all won and gained market the fully affirmed. It is true that a high movie box office can not tell everything about a movie. But it can show the interest and propensity to consume in some point of the audiences especially the young ones. It is easy to find out that the five successful movies mainly targeted at the young people between15-year-old to35-year-old who live in the city and the movies all expressed their stories and attracted their audiences by shooting methods of music video. Such as in the movie Crazy Racer, Director Ning hao applied the fast rhythm, polyteny way of editing. This gave the audiences a great vision pleasure; in the move A Story of Lala’s Promotion, Director Xu Jinglei used pan-fashionalization as the moulding elements of the movie and then with no doubt, many city young men and women were crazy for it. Moreover, in Eternal Moment, director deliberately showed his story piece by piece. Added the modern sound elements, the movie attracted different age ranges of audience. And in Love is Not Blind, the whole movie is shot and processed as the music video. With its pictures set to have blue dominance, the movie has a fresh and natural style. Besides, a movie will become a hit when the audiences feel fresh to find out that the movie is shot as a music video. Hereafter, the directors of music video make a even more brave improvement and enrichment of their directing methods and lots of great music video came into being. The videos are greatly matched the songs such as Fairy tale, a famous song of Taiwan singer Guang Liang, I Love U from a Taiwan Singer group SHE so on and so forth. Not only these videos break the song into pieces but also inset plots and conversations matching the artistic conception of the song. Moreover, this kind of videos paid more attention to the deep emotion of the song by first attracting the audiences with the setting story and plots then they will have the sympathy and resonating with the song.Music videos and contemporary Chinese films exerted influence onto each other for nearly thirty years. Through analyzing the specific music video and films, the author aims to conduct a research of the cognitive style of the audience, style of the director and social value in different times and thus construct a relationship between the two. Under the influence of music video,Chinese films have paid more attention to the form than their contents. Consequently, although these films earned success in box office, they are lack of social concern and spiritual depth. Thus it’s probable that these films will not linger on for a long time in the screen. Meanwhile, when the films, bound with the music video, are aimed at emotional selling, people’s artistic conception of space will be controlled by the visual symbols. As a result, people could not perform self-imagination and the interaction will be greatly reduced. Although the integration of the two still remains a transitional period, yet it has led to a revolution of the contemporary Chinese film, an assembly of new film languages. |
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