| French social thinker Michel Foucault once stated his original intention of writing Discipline and Punishment: If I write a history of the past from the present perspective,it is not my interest.If I write a history about the present,that is my interest.The interpretation of the phrase “responsibility and responsibility” is often translated as “the important thing is not the age of myth telling,but the age of telling myth”.Undoubtedly,the influence of Foucault’s responsibility and responsibility is not limited to the area of philosophy in which he is most adept.In the era of continuous acceleration of external globalization and the internal completion of internal modernization,the opening of social change in China was natural and violent.At this time,the individual directors who were using the video to tell this era became the authors inspired by what Foucault said.The starting point of research,and in the current group of Chinese film writers,director Li Ruizhen,who brings together individual achievements and group dilemmas,has aroused my research interest.This thesis mainly uses the theory of film writers to try to confirm the identity of the film director directed by Li Ruihuan,and mainly interprets the discourse construction and aesthetic propositions in his creations and works based on the relevant views of the film writer theory of Andrew Sarris et al.Under the dual background of Chinese film being at the box office and a new period of rapid rise in production and the change of the film authorities,the symbolic representations condensed in the image and condensed by Li Ruizheng are placed in multiple angles such as sociology,culture,and narratology.Discovering and arguing,realizing the decoding of the cultural meaning function in his works,and exploring the way to build a new ecology of Chinese author film dissemination and Chinese art film.In specific writing,the author mainly discusses and considers the writer’s identity,aesthetic characteristics and the way of existence from the following parts.The first chapter traces and sorts out the author’s film theory.Based on this,combined with LiRuizheng’s growth and creative experience,he makes an identification of Li Ruizheng’s film authorship.The second chapter is based on the theory of film writers,from the four aspects of writing the theme of root-seeking fables,the cultural decoding of characters from the perspective of author theory,the narrative style of realism,and the film language of poetic realism.,To achieve a panoramic presentation of Li Ruiying’s movie as the author’s movie.Based on the text analysis in Chapter 2,Chapter 3 attempts to analyze the causes of its aesthetic features.As a personal ideal who is limited by censorship and box office difficulties,how to expand his living space and how to open up the way of stitching his creative ideals and current reality to achieve self-consistent identity,the above two issues are mainly Explore in Chapter 4.In general,this article shows a certain sense of problems under the background of social progress and class differentiation,individual struggle and group anxiety,institutional change,and ethical adherence to the increasingly normalized confrontation.And through the identification and deconstruction of the creative personality and aesthetic causes revealed in Li Ruiying’s creation,in order to achieve the observation of Chinese author films and film writers at this stage,the urgency of the return of the diversity of Chinese film creation and the establishment of a diverse evaluation system The necessity to explore a wider living space for the survival of film writers is the value pursuit this paper is trying to achieve. |
