Close-up Study Of Chinese Films In The 1980s

Based on the theory of "close-up" in Deleuze’s film philosophy,this article examines the close-ups of Chinese films in the 1980 s.Deleuze does not use the film as an object for analysis to grasp the theory,but to let the film open its own way,by creating new concepts to describe its various possibilities.Deleuze inherited Bergson’s philosophical thoughts about stretching,and regarded film as a living being.Of course,the living body her is not the same thing as the living body in the usual sense.In the philosophy system of Deleuze,the essence of the world is nothing but phenomenon,and phenomenon is the collection of a series of images.Images are related to each other and never stop in the movement so they are alive.As a kind of life,the film is therefore a living body in the theory of Deleuze.It has the ability to perceive the external world,while philosophy creates new concepts and grasps this new experience.It is this concept of watching Movies that provides a solid philosophical foundation for the clarification of the close-up,and also provides a powerful theoretical weapon for us to examine the close-up of Chinese Movies in the 1980 s.On the one hand,in traditional film cognition,the close-up belongs to a part of the audio-visual language and is only used as a functional Means to expropriate it for various tasks,rather than treating the close-up as the life of the Movie.The phenomenon of life,the possibility of its life is inspected,so that the close-up itself is always in the shadow,and in the 1980 s,due to the return of the concept of the film ontology,the filmmaker’s perception of the close-up has changed,Making the exploration of the close-up To a certain extent,it is possible to use the theory of Deleuze to investigate its operability.On the other hand,the 1980 s was the Most lively and embarrassing era in the history of Chinese cinema.Various Western cinema concepts and film thoughts gathered in China.The films under the influence of these concepts and thoughts were too numerous to enumerate.This provided a rich image for the close-up investigation.Data support.This paper uses empirical research,conceptual speculation and sample survey Methods.By combing the close-ups in the 1980 s Movie,the life phenomenon of the close-up Movie will be examined,and the emotional state and image form shown behind the close-up will be revealed.The first chapter of the thesis first introduces Deleuze’s theoretical summary,spirit and theory of close-up.It points out that the biggest feature of Deleuze theory lies in the transformation of its theoretical perspective.It no longer regards film as a guest object,but as a lively splash.The life body has its own life will and initiative.Therefore,the close-up is no longer the tool used to perform the task,but the way in which the living body of the Movie expresses emotions,and it is also revealed through various forms of close-up images.The second chapter of the paper analyzes the close-ups in the first half of the 1980 s.During this period,the film was dominated by facial features,and the emotions presented were two series of gradient changes,which together constituted the overall emotional state of the early 1980 s films,which belonged to the action-image category.Although the exploration of the close-up during this period broke through the functional understanding,it never showed the Many possibilities of the close-up.This is because the director did not really start from the image itself,and the instrumental understanding of the film is still deeply aware.The third chapter analyzes the close-ups in the second half of the 1980 s.During this period,the film was Mainly based on the close-up of things,realizing the transformation from expressing emotions to reflecting emotions,and letting Many possibilities of close-up appear,and getting rid of the constraints of the concept of tools.However,due to the strong political orientation and utilitarian cultural reflection of the film content during this period,the life phenomenon of the Movie life is turned into an empty signifier,and the close-up is re-entered into the paradox of the concept of tools.The fourth chapter traces the source and flow of the close-up of the film in the 1980 s,pointing out the close relationship between the close-up of the film in the first half of the film and the realism,the close-up of the film in the latter half of the film and the teacher-study relationship between European art films.With the help of Deleuze’s film theory,the paper analyzes the close-ups of the 1980 s.While completing the above analysis,the paper also tries to clarify the contradiction between the theoretical and practical objects that is always difficult to reconcile.When it tries to use the concept to name things,things have already escaped Out of sight.