A Study On The Narrative Transformation Of Chinese Spectacle Movies In The New Century

Since the beginning of the new century,Chinese films have developed rapidly and have become increasingly spectacle.The development of spectacle movies has also brought about the transformation of traditional narrative modes of films.This article takes Chinese spectacle movies of the new century as the research object,and multi-angle analyzes the narrative content,narrative elements,narrative structure and narrative strategies of Chinese spectacle movies from the perspective of narratology,studies the changes and art value of Chinese spectacle movies' narrative codes in the new century.The paper mainly includes the introduction and five chapters of the main part:The introduction part mainly introduces the research status of the spectacle movies,and on this basis,summarizes the research significance and innovation,research ideas and research methods of this paper.The first chapter:First of all,explains and defines the related concepts of" spectacle”and"spectacle movies";secondly,clarifies the development situation of Chinese spectacle movies since the new century,and excavates deeply into the reasons for its rise,which provides theoretical and realistic basis for the specific research on narrative transformation of spectacle movies below.The second chapter:Comparing the narrative mode of Chinese spectacle films in the new century with the traditional narrative modes,points out the differences in narrative logic,narrative techniques,and narrative elements,and highlights the superiority of spectacle narrative.This article holds that the spectacle itself is also an important and special narrative means of the movie.It is different from the traditional narrative style and embodies the narrative function of the post-modernism style.Therefore,it is not appropriate to forcefully separate the narrative movies and the spectacle movies." Spectacle " as a sound-painting language,is characterized by simulating,intuitionistic,and multi-meaningful.This is where it is superior to discourse narrative.With the turning of visual culture,Chinese spectacle movies have gradually changed their own narrative ways,presenting a visual representation of the image as the center,disguising discourse factors;taking audience's emotional pleasure as the center,weakening rational narration;focusing on technology digging,narrative The significance of the decline and other characteristics.The third chapter:Combining with concrete cases,analyzes the narrative content of Chinese spectacle movies from three aspects:narrative subjects,narrative themes,and role modeling.The diversification and innovation of narrative subjects,the combination of narrative themes and traditional cultural concepts,and the ideological connotation expressed through role-building have greatly enriched the narrative content of spectacle movies.The fourth chapter:It mainly analyzes the narrative strategies of Chinnese spectacle movies from three aspects:narrative structures,narrative elements and narrative techniques.In the narrative structure,the deconstruction and innovation of the traditional narrative structure were accomplished with fragmented spectacle collages,space-based new spatio-temporal structures,and multiple perspectives of the new narrative structure.In the narrative elements,the spectacle movies are roughly classified:motion spectacle,body spectacle,speed spectacle,and scene spectacle.In terms of narrative techniques,elaborates from the two aspects of montage language and visual performance of post-modern period.Chapter V:Summarizes the narrative dilemma of recent Chinese spectacle movies,and points out the issues of deconstruction of narrative and excessive imagery on the deconstruction of video ontology,and points out the prospects for the coexistence of its image spectacle and narrative discourse.