Personalized "hometown" Image Writing

This paper takes four young directors,Song Taijia,Zhang Dali,Bi Gan and Peng Fei,as the main objects of study.Through their return to their hometown when shooting their first work,namely,Tibet,Inner Mongolia,Guizhou and Beijing,which point to the west,north,south and east of China in the sense of geographical space,the phenomenon that the current young directors place their first work in their hometown is revealed.At the same time,through their continuous expression of "hometown" in their works and the generation of four personalized forms of "hometown" expression or four forms of "hometown" death,the symptoms of "collective return" of young directors are differentiated.The reason why this article chooses four young directors with both similarities and differences to draw the group of Chinese young directors within the framework of "hometown" syndrome is that neither "intergenerational invention" nor "regional naming" and other grand theories can deal with the current young directors full of differences,but they present a structurally similar internal feature,that is,behind the "collective return" of young directors,In fact,it is looking back and looking inward at "hometown" or personal life experience in the process of closed modernization.However,this article is not intended to generalize the young directors in a holistic/simple way,but to describe the group of young directors with "hometown" as a symptom through the structural analysis of four typical young directors at the time node after "Wanma Caidan".The first chapter mainly discusses the director of Songtaijia,who returned to the Tibetan/Western region and constantly wrote about the individual trauma in the Tibetan "family",and this traumatic expression is directly related to Songtaijia’s personal trauma experience,that is,the death of his father.In other words,Songtaijia’s hometown is traumatic and subconscious.The second chapter mainly deals with director Zhang Dalei,who returned to Inner Mongolia/North China and continuously expressed his hometown in the 1990 s in his childhood or growth memory.The third chapter mainly discusses director Bi Gan,who returned to Guizhou/South China and constantly constructed broken local memories/ "acquaintance society" through long shots.The fourth chapter mainly discusses director Pengfei.Although he returned to Beijing in his debut,Beijing has never been his hometown for him.He entered a foreign land through real experience and continued to pay attention to the marginal people,presenting a sense of drifter after the collapse of the family.Therefore,Pengfei’s works,on the one hand,show the characteristics of external writing,on the other hand,also show that his hometown is dead.To sum up,the four young directors wrote "hometown" with both personalized characteristics and similarities,which implied "death of hometown".Based on this,this paper mainly examines two aspects through case studies.On the one hand,it selects the background of the case study,and actually seeks the possibility of describing the current differentiated young directors in the context of the "intergenerational" naming failure,that is,the possibility of drawing.On the other hand,it describes the "hometown" as the symptom or prototype of the current Chinese youth director group through the structural internal and external characteristics between the cases.