Research On Chinese New Mainstream Films From The Perspective Of Film Industry Aesthetics

This article takes China’s new mainstream film as the research object.The so-called Chinese new mainstream film refers to a type of film that integrates cultural construction demands,industry demands,and audience needs.This type of film has three main characteristics.The first is at the level of values.Recognition and manifestation of the socialist core value system.The second is to focus on the standardization and industrialization of the production process under the support of the film industry,and at the same time use the main theme and certain elements of commercial genre films for reference and transformation.The third is to try to bridge the gap between the three different production ideas of Chinese films in the past in the production path,integrate the narrative framework and identification mechanism of commercial films,and implant the value core of mainstream ideology.The aesthetic experience of commercial films is used for reference to change the outdated preaching mode of traditional main theme films,activate the construction path of mainstream ideology in an ideographic framework that is more in line with the current social and cultural context,and achieve the convergence of mainstream ideology and the mainstream market.From a practical point of view,we can find that in recent years,"Wolf Warriors 2","Operation Mekong","Operation Red Sea","Captain of China","Win the Championship","Eight Hundred","King Kong River","Emergency A group of new mainstream Chinese movies represented by "Rescue" is becoming a movie phenomenon that cannot be ignored.The integration of typological aesthetics,the enhancement of audiovisual presentations,the industrialization and commercialization of blockbuster film models,and the focus on ideological orientation have enabled China’s new mainstream movies to win market recognition with their strong appreciation and realize the effective dissemination of mainstream values.However,there are still some shortcomings in these films.For example,the characters in some films are still relatively thin,the rigor of the narrative is still slightly inadequate compared with the grandeur of the scene,and the lack of consciousness of integrating humanitarian shared values when expressing the spirit of patriotism,etc..However,it is undeniable that China’s new mainstream movies have already had considerable influence.Chen Xuguang in "On the Realistic Origin,Theoretical Resources and System Construction of "Film Industry Aesthetics" [Chen Xuguang.On the Realistic Origin,Theoretical Resources and System Construction of "Film Industry Aesthetics"[J].Journal of Shanghai University(Social Science Edition)),the first issue of 2019] first put forward the important ideas of the film industry aesthetics theory.The core ideology of film industry aesthetics not only has the concept of film industry,but also respects the laws of film art and cultural needs,balances the relationship between artistry/commercial and institutional/author to the greatest extent,and pursues the unity of film aesthetics and economic benefits.Advocate the establishment of a standardized and standardized industrial production system,seek a balance between art and business,and advocate typified creation to embrace the mass market.From text creation,production management to publicity and distribution,the aesthetic theory of the film industry covers three levels of film production and operation.From the theoretical perspective of "film industry aesthetics",this article interprets the aesthetic characterization and construction strategies of China’s new mainstream movies,and analyzes its text production,production process and industrial strategy,and finally contemplates and proposes its existing problems.some advices.The full text has four chapters.The first chapter briefly introduces the aesthetic theory of the film industry,and at the same time summarizes the development context of China’s new mainstream film creation.The second chapter analyzes the aesthetic characterization and aesthetic construction strategy of the new mainstream Chinese movies from the perspective of the aesthetic theory of the film industry.On the aesthetic level,it is characterized as the organic integration of mainstream value and mainstream market,sublime and entertainment,poetry and commerce,and politics and art.Through typified and pan-emotional narrative strategies,the return of heroic aesthetics at the characterization level,the in-depth interpretation of mainstream values,and high-quality audiovisual language,they jointly construct the aesthetic style of China’s new mainstream movies.The third chapter is the analysis of the text production,production process and industrial strategy of China’s new mainstream movies from the perspective of the aesthetic theory of the film industry.At the level of text production,the universal expression of mainstream values ??is achieved through political ethics,and the popular support of typological aesthetics is achieved through the structure and typology of story plots.At the production process level,the industrialization and standardization of the production process is achieved through producer-centric system and multi-party joint production.At the level of industrial strategy,relying on the star strategy to activate the fan economy,using big data and new media platforms to explore the marketing model of the new media era,and improving distribution channels through the linkage of the ground and the Internet.The fourth chapter is the perspective and speculation of Chinese new mainstream films from the perspective of the film industry aesthetics theory from text narration,theme expression,image aesthetics,genre construction,and production mechanism guarantees.The new mainstream films in China are exposed at the practical level.There are many problems,especially in the following three aspects.The first is the displacement of the narrative point of view of some historical films and the absence of narrative logic.It is difficult to truly construct collective memories that are recognized by the public.The second is the cultural conceit of the narrative level of the value of some films.Unlike the nationalist bias in the expression of patriotism,it is difficult to truly achieve cultural output.Finally,the narrative tension of some films is insufficient,and the limitation of the subject matter type is difficult to form an industrial extension.To sum up,although China’s new mainstream movies have shown great openness and tolerance at the aesthetic and value levels,the text production,production process and marketing levels all demonstrate the rational principles of standardization and standardization.However,from the perspective of cultural construction and industrial appeals,in the future creative practice of China’s new mainstream films,the attitude of cultural self-confidence should be adhered to,and the historical narrative level should pay attention to the true historical narrative logic rather than just the spectacle of images;in terms of value At the narrative level,we must be wary of cultural arrogance while promoting mainstream values;we must pay attention to rational expression when expressing patriotism and at the same time be wary of radical nationalist sentiments;we must pay attention to constructing real narrative tension rather than just narrative framework when transforming typological experience Mechanical application.At the same time,it is necessary to intensify the exploration of the security system for the development of China’s film industry,take government administrative power as the lead,learn from Hollywood’s financing guarantee experience,improve film financing mechanisms,give full play to the professionalism and enthusiasm of cultural enterprises and industry organizations,and vigorously cultivate Film and television law,insurance,finance and other cross-disciplinary compound talents,etc.,try to construct China’s film protection mechanism.