Movies’ Narration Strategy Of Mainstream Films In China

Originated from music composition, “musical theme” represents the most touching and prevailing part of a melody. Later in 1987, the concept was borrowed to movies by Shi Fangyu, the Director of China’s State Administration of Radio to describe the most wonderful characters and represent the mainstream spirits expressing as well as promoting universal values. Then in 1991, Teng Jinxian, the new director, came up with another slogan ?Highlighting of theme and persistence on pluralism?. The first mainstream movie was made in 1988. Since then,thousands of mainstream movies have been produced in China within 26 years, in which many are excellent works. However, going though the development, some serious deficits have also come into our eyes.In recent years, the mainstream movies want to play an active role in the socialist core value system. However, the mainstream movies has some drawbacks in the films and narrative strategy. For example, the mainstream movies want to show undue the state ideology. This year 8 mainstream movies have been launched by June 30 th, which enjoyed a 60% growth year on year, yet suffered a box office decrease of 50%. Although box office is not the determining factor for mainstream movies?evaluation, it still indicates its dim developing.As a genre of Chinese movies, mainstream movie is also experiencing the structural illustration changes. Nevertheless, no matter in family ethical movies, ideological illustration, or typical models?cases, the changes are all superficially laid on theme-choosing instead of script-writing and movie-displaying. Therefore, it?s always been bounded by scripts for Chinese mainstream movies.In order to provide a new dimension to the film narrative and cultural communication, author changed the usual research mode. From the historical perspective, firstly, study on the storytelling of the early mainstream film. Secondly, study on the narrative of the mainstream film in 1980 s.Chapter two is an brief introduction to the development of feature film. Firstly, it made an analysis on China?s box office from 2002 to 2013 so as to know current situation of Chinese movies(what kind of movies are most popular; the comparison of box offices between China-made and foreign-maid movies; the comparison of market reactions between mainstream movies and other movies). Secondly, it analyzed the most rapidly developed illustrating pattern of mainstream movies based on case-analysis of 2011?s mainstream movies.Chapter three cut in the early mainstream films, we discussed the traditional narrative mode of the mainstream movie. Although the two kinds of narrative patterns in different periods, but the former for the latter has far-reaching influence. The latter has a better inheritance and development. For example, structuralist narration and non-focus narration led to huge changes for the mainstream film in 1980 s. In the last, the author analyzes the new narrative strategy of the main melody movie in 1980 s.Chapter four is the new interpretation of the relationship between the three which is mainstream movies?narration strategy, viewing motive and box-office. The experiment confirmed this result of the relationship between narrative strategy and the ticket room.The fifth chapter is the derivatives of the fifth chapter.In order to explore the future of the mainstream movies and What to do under the both worries.At last is the ending comments of this thesis: as a particular Chinese art form, mainstream movie has its unmeasurable significance. However, in terms of its narration strategies, we could shift from “rule” to “liberty” not only by starting from the script narration, but also by breaking the conventional narrating structures under post-modernist context development and the real or virtual times and spaces.