The Fathers As Long Shot Images

Long shot is a filmology concept, which is one of the most common scenes. Bakhtin used it to analysed the Dostoevsky’s fictions, and pointed out that, in his fictions, the images and events never presented for “long shot figure ”. But in 1920-1930s’ fictions of Chinese, the father images were all portrayed long shot images. The most remarkable characteristics of long shot father images is a sense of remoteness between readers and the images in the fictional texts. Long shot father images can be divided into complete father image, incomplete father image and combined father image on the basis of what makes the sense of remoteness. Complete father images display the remarkable features of aresymbolization and completeness, and get a relatively late entrance a shot time presence in general, moreover, they function as background and transition in narration. Finally,they get the long shot image for the author’s definite emotion tendency.Incomplete father image should be a sound father,but they didn’t. They can only existent in the way of being long shot image because of the mutilated identity of father. Combined father image get two identities of father and son, which are unbalanced. Generally, the identity of son is so strong that the image of father can only stay in a long distance. Full of the characteristics of the times, “the narration of revolution” and “conflicts between fathers and sons”, are the most important factors for long shot father images’ formulated context. In fact,it is the appearence of“totalistic iconoclastic thought ”,which generated in the May Fourth Era, in literature that fathers were portrayed long shot images. It inspires us to re-estimate the value of the traditional in the attitude of “conversation”, and try to turn creative transformation of our tradition into reality.