Birth Of "Time-Image":a Study On Aesthetic Of Wen Jiang’s Films In The View Of Gill Deleuze’s Film Theory

The film theory of French philosopher Gills Deleuze is one of most well-known film theory in the twentieth century. His ontology of film theory is based on philosophy, this theory covers most of works in film history and had been popular for more than thirty years. This film theory focuses on the discussion of basic film elements and tries to classify different films. Deleuze thought that "time-image" and "movement-image" concepts form the basis of film, and represents the different characteristics between modern film and classic film. Based on these two concepts the film can be regarded as a practice of thinking in images.In Chinese film industry, Wen Jiang is an unordinary director. His work are presented in diverse forms, they show off strong personal color and charm in film language. It’s worth to note that Wen Jiang’s films always reveal kind of ambiguity. His films refuse to obey existing mainstream value by violating the audience’s mental formulary and using unconventional narrative. Despite every his film pursues breakthrough in form, scenes and characters show consistent stability. The film theory of Deieuze provides the theoretical basis to explain the deep spirit of Wen Jiang’s films.Deleuze thought that in "movement-image" concept, image will operate like "sensory-motor" chains. It follows the cycles which starts with perception, then to emotion, to impulse, finally ends with action. In emotion part, if it successfully goes to impulse, the final action will happen completely. However, if this gaps could not be smoothly crossed, the action won’t be able to be taken, "memory-image" and "dream-image" occurs. After this, pure audio and visual context forces images to shows its purity, "time-image" comes. Above all, emotion-images are the bifurcation point of the two kinds of images. Based on "time-image" and "movement-image" theory, Wen Jiang’s films show the crisis of "movement-image" and modernity of the film on "time-image".Chapter 1 introduces research background of Wen Jiang’s film and film theory of Deleuze. Chapter 2 describes formation mechanism of "image-movement":a cycle starts from perception, then to emotion, finally to action. As an important bifurcation point, "emotion-movement" shows unique light and color setting in Jiang Wen’s film. And two forms of "movement-image" become a crisis. Chapter 3 describes another bifurcation point enable by "emotion-movement". With "crystal-image" pure sound and light situations come, "memory-image" and "dream-image" become the main part of the film. Chapter 4 explores the aesthetic value of Wen Jiang’s work from author theory and modernity.