| As an aesthetic style black humor has a profound philosophical background, it is not only in literature, but also seen in movies. China’s black humor started late, with the end of the Cultural Revolution, China slowly began to open its doors to the world, some trendy theories and excellent works have also been introduced in many films and filmmakers began to learn advanced Western movie idea, and try to show it to people. With the era of development and progress, such black humor of the film industry is becoming an important contemporary film expression, and the theme itself is also from a purely political satire and history, extending to aspects of the fate of the ordinary people.However, "black humor" itself is a concept spanning art, aesthetics, film comedy and other disciplines. In order to provide certain references for the film art practice, this article is not only trying to clarify the connotation of "black humor" characteristic and extension, but also analyze the narrative, language and aesthetic features of " black humor film". Comprehensive thematic study in black humor movies is rare in Chinese and foreign scholars. Besides, Chinese domestic contemporary theorists have studied black humor in different research perspective. And this paper attempts to make some innovations from two aspects----creators and recipients----to analyze the black humor films.This paper intends to elect the 3 typical black humor films as a starting point to analyze how black humor works in the film during the performance, its development process and its aesthetic expression. The selected movies are as follows: in the early 1980 s, "Black Cannon Incident," to Feng Xiaogang’s popular entertainment 90 s movie "Party A and Party B†and then the new era Ning Hao’s "Crazy" series movies. By analyzing the narrative, expression and aesthetic features of black humor films, aiming to search its deep culture value, and thus make the prospect and reflection of its further development. |
PDF Full Text Request