| Recently,excellent film literature has rarely appeared in mainland China.In the 1980 s and 1990 s,it was the golden age of Hong Kong film literature.Mainland Chinese films can learn from the superiority of Hong Kong film literature.This study is the characters of Li Bihua’s film scripts,a representative of Hong Kong film literature.The main feature of her film scripts is she absorbed and inherited Chinese classical aesthetics.She skillfully applied this feature to the description of social life.And She radiates the new literary power of Chinese classical aesthetics.The main body of this study is divided into three chapters.The first chapter uses the four characters of "new,old,strange and love" to correspond to the four Chinese classical aesthetic features,namely,"real nature,subtle connotation,scene blending,and meaning".The text of the film scripts are widely quoted in this chapter as example.Then summarize the general situation and characteristics of Li Bihua’s film scripts.The second chapter is about the Chinese classical aesthetic elements in Li Bihua’s film scripts.It includes three aspects,"freedom" of characters,"fantasy" of plot setting and "image" of scene setting.From these three aspects to elaborate on how the Chinese classical aesthetic elements are perfectly integrated into Li Bihua’s film scripts.The third chapter is the reference meaning of Li Bihua’s film scripts from literature to film.Therefore,it is possible to find the artistic and commercial perfection of Chinese mainland films.Finally,come to a conclusion: We need to use classical Chinese culture as the basis of the script to achieve the same success as Li Bihua’s film scripts.We should find true cultural confidence in film literature with the aesthetic ideas of Chinese classical aesthetics. |
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