Research On The Construction Of National Subjectivity In Guan Hu War Films

In the age of globalization and digitization,the current paradigm of film making and research is turning and changing.For example,the national subjectivity of films is increasingly valued.The subjectivity debate on Chinese film studies and the related film theories derived from it have once again become compelling topic.The issue of the construction of national subjectivity in Chinese films has always been an issue of film culture "forced out" by the times since films were introduced into China.Regarding the historical exploration and accumulation on the topic of "nationality",the current Chinese film theory,originating from the cultural era of globalization and digitization,based on the diverse types of Chinese film production and independent character creation landscape,it tries to establish the style of local film theory,and forms several widely concerned film theory hot spots.These theoretical concepts are grand and broad,aiming to create some masterpieces that can reflect the contemporary Chinese characteristics and national aesthetics.This paper selects the sixth generation of important director Guan Hu’s war film series(COW 、 The Chef,The Actor,The Scoundrel,、 The Eight Hundred and The Sacrifice)as texts that embody Chinese characteristics and national aesthetic.They have strong mainstream color,and with national subjectivity construction as the research framework,based on local experience,cultural content and aesthetic experience,draw lessons from western modernity theory,combined with the present overall trend of the development of Chinese film market and Chinese film theory exploration achievements.These works are intensively explored from three aspects of subject identity,style innovation and public appeal.The first part analyzes from the aspect of the subject’s identity,and discusses three aspects of the character image reflecting the national characteristics,the conflict and exchange between Chinese and Western civilizations under the background of war,and the modern expression of traditional culture,so as to reflect how the work establishes the subject’s self-identify.The second part analyzes from the aspect of style innovation.Based on the humanistic spirit of in traditional Chinese aesthetics and the theory of Western New Historicism,it analyzes the works in narrative perspective,narrative structure and audio-visual language aesthetic features of poetic and from part to wholeThe third part analyzes from the level of public demands,combines the current situation of the new mainstream films in the Chinese film market and the advocacy of new Chinese film local theories,and analyzes the commercial value of Guan hu War films.This paper discusses from the film industry aesthetics,anti-traditional new writing and the unity of producers and the public three aspects to analyze how the works establish a deeper communication and dialogue with the public,how to balance the relationship between the commercial and artistic,individuality and commonality,mainstream consciousness and artistic aesthetics.In the conclusion,this paper argues that Guan`s war films are keen to place the stage of the story in the context of war in modern China.While describing the suffering of the nation and inspiring a sense of national identity,the artistic style also shows the director’s strong personal style and traditional aesthetics with unique national spirit.His films also take into account both artistic and commercial.This kind of film creation which appeals to national subjectivity is worthy of our learning and reference.