A Study Of The Perspectives Of Contemporary Chinese War Image

The viewpoint of Chinese war images is a matter of concern.The viewpoint is not only the objective physical location where we look at things,but also the subjective way we look at things,which determines how we judge things.Throughout the history of the presentation of Chinese war images,from the viewpoints of "propaganda and war of resistance" before and after the Anti-Japanese War,to the viewpoints of "heroes" during the "Seventeen Years",to the current diversified viewpoints and viewpoints of "foreigners",they all provide us with There are so many different ways of understanding film.Based on the viewpoint problem,this paper sorts out the history of Chinese war images,tries to explain the details of the interaction between different social and cultural contexts and the viewpoints of war images through a diachronic investigation,and then elucidates the specific connotation of the viewpoint of "foreigners" in Chinese war images in recent years.The introduction part mainly explains the research motivation and the meaning of the topic.At present,there is a certain amount and quality of research on the interaction between Chinese war images and viewpoints in academic circles,but most of them are theoretical and practical through a certain phenomenon-level text,lacking historical thinking.This paper attempts to fill this gap,starting from the differences between historical generations,and analyzing and discussing its historical reasons in the social and cultural context.The first chapter is based on the sorting out of the two concepts of "war image" and "viewpoint",focusing on the presentation history of Chinese war images,trying to clarify the boundaries of research on Chinese war imagery viewpoints,and further clarifying the difference between narrative viewpoints and lens viewpoints and their functions.In this way,it demonstrates the intersection of Chinese war images and viewpoints.The second chapter clarifies the ideological attributes of viewpoint,war and war images respectively,and further expounds the multiple ideological connotations of contemporary Chinese war images.The third chapter is the main part of this research.This part divides contemporary Chinese war images diachronically into war images before and after the Anti-Japanese War,war images during the "Seventeen Years" period,and war images after the millennium.Taking the narrative point of view and the lens point of view as the starting point,this paper summarizes and distinguishes the viewpoints of war images in three historical periods,and emphasizes the relationship between the changes of viewpoints in different historical periods,the social and cultural structure,and the aesthetic pursuit of the creative subject.The fourth chapter is the innovation point of this research,mainly focusing on the viewpoints of "foreigners" that have appeared in war images in recent years.This chapter first constructs the concept of "foreigner" in the dimension of philosophy and ethics,clarifies the philosophical dilemma and aesthetic meaning of the "foreigner" viewpoint,and further analyzes and expounds the connotation of the "foreigner" viewpoint that has appeared in Chinese war images in recent years..The point of view of Chinese war images is related to the cognition and emotion of different groups of war,which provides us with a tool for mapping the changes of film aesthetics.Based on this,it is a reasonable strategy to summarize the narrative characteristics of war images in different periods and clarify their specific connotations in different social and cultural contexts.This paper attempts to interpret the above phenomenon symptomatically through historical intervention,so as to provide a vision of research viewpoints.