The Research Of The Urchin Image In The Chinese Children Film During The New Period

For us, urchin is not strange due to the fact that urchin is a commonly existed but relatively special group in our life. His performance didn’t win much attention when the group was placed in the films using images to convey the spiritual life,and theoretical research about urchin was relatively scarce as the existence of bias to the group. Based on the urchin image in the Chinese children film during the new period, the author tries to turn his attention to the true humanity of the urchin image and pays more attention to the culture connotation, the artistic value and aesthetic significance of the urchin image in the children films.The purposes of the author are that people can have a deeper understanding to the urchin image and the group.The study consists of five parts:The first part is an introduction, the author briefly summarizes and mainly analyzes the research background, significance, research status and the general review.The second part focuses on the definition of the concepts which closely related to the paper. Wherein the comparative analysis is used in the definition of urchin, for one thing, the author compares "urchin" with the "bad boy" and the "problem child", because they ’re often confused with each other and secondly compares urchin with the example--"good boy". Finally, the author summarizes such urchin characteristics as playful, integrity, has inquisitive nature, natural instinct, vitality and creativity, and full of game spirit, against ossification, willing to change. This part will deepen our understanding of the nature of the urchin.The third part gives a specific analysis of the urchin image in the Chinese children film in the new period. First, according to the liberation level of the urchin’s nature in the children film in the new period, the"urchin image"can be divided into three categories: reformed urchin, rebellious urchin and liberated urchin. And then, with logical thinking outside to the inside, the author focuses on exploring the connotation of the urchin image based on the shape of the film to make its connotation gradually obvious, from "kids say" to "behavior" to "childlike innocence" and finally deep into the "spiritual value dimension".The fourth part is the exploration of the urchin image shaping method in the Chinese children film during the new period. The analysis mainly from two aspects:first "lively" is highlighted and the cheerful scene atmosphere, readable language structure are more suitable for the performance of the urchin’s unique nature, which depends on more lively sound tone to build and perform. Second, foil negatively the urchin image by using a large number of "contrast".The fifth part discusses urchin image shaping significance and revelation in the Chinese children film during the new period. This part mainly discusses the practical significance and potential significance of the urchin image for two big groups (children and adults), as well as the long-term trend of such movies.