The Road Of Growing Up And Confrontation

The American youth films born in the 1950 s entered a high-production period in the 1990 s and started to reflect the normal life of teenagers more realistically,with their own unique narrative system and type characteristics,they became one kind of film genre that cannot be neglected.When combined with topics such as campus or crime,“youth apocalypse films”--youthful films involving campus topics are produced massively as they are dug deeper.The audience could feel how society and campus profoundly impact on adolescents.However,as main sites for growing of teenagers,the topic “family” was always neglected by a number of filmmakers although it has been mentioned in some films.After the new century,domestic youth films are also groping for developments and innovations.And in recent years,domestic youth films returned to the embrace of realism,as these films started to reflect school violence issues and show much care for families with cancer members,crime、family ethics、campus youth and many other elements are integrated to show complexity、plumpness and cruelty of youth.Yet family youth films is just like a little lotus has just expose its sharp end in domestic film industry.Therefore,family youth films are confirmed as research objects of this article.This article attempts to explore the creation process and development of family youth films and study the American family youth films in the 1990 s by literature research、cases analysis、comparative analysis and other research methods to explore artistic features of family youth films.The dissertation is divided into six parts,the first chapter is the introduction part,due to the current lack of research on family youth movies,most of the foreign scholars put the focus on images,genres and culture of character when study youth movies.This article will find out distinct story design and audio-visual modeling of family youth films mainly through a angle of narrative and audio-visual parts.The second chapter will give a definition to the youth movie concept,in addition,the author also makes analysis on family youth films belonging to genre films.The third chapter will start with analysis of some characters like“young boys” “young girls” and “companions”.The narratives of family youth movies in the 1990 s generally followed the classic Hollywood model,therefore the author analyzes and concludes that the classic-three-acts narrative strategy and narrative perspective are applied in family youth films of 1990 s based on drama theories.In the fourth chapter,the author starts from the perspectives of colors,scenes and sound to analyze the audio-visual modeling characteristics of family youth movies which serve the characterization.In the fifth chapter,based on his own graduation script creation,the author summarizes and explores the inspiration and thinking brought to domestic family youth films through the analysis of American family youth films in the 1990 s.Otherwise,domestic youth filmmakers need to think about the ways to seek out proper color expressions with glamorous and Chinese characteristics and movie soundtracks matching emotions and temperament of their films for better audio-visual modeling.