A Narratological Study Of Revolutionary Hero Films(1949-1966)

Revolutionary Hero Films in 1949-1966 refers to Chinese movies from 1949 to 1966 with the Chinese revolution as the background,focus on creating heroic images.Born out of a complex historical context and process of cultural construction,it emphasizes the legitimacy of establishing state power through revolutionary means,and advocates the values established during the war.The author intends to explore the four aspects of the narrative motif,narrative time,narrative space and narrative perspective of such films,and deconstruct the narrative strategy of the " Seventeen Years" revolutionary hero film accordingly.This paper analyzes the overlap and divergence of the imagination of the two main subjects,and further analyzes how the revolutionary heroic movie text solves the internal conflict between the heroic view of history and the materialistic view of history in the construction of a new culture.This paper consists of four parts.The first chapter cuts into the "Seventeen Years" revolutionary hero film from the narrative motif.Discuss the origins of its content and plot structure.It is the result of the interaction between Chinese classical novels,traditional folk culture and modern popular literature.The second chapter mainly studies the narrative time strategy of "Seventeen Years" revolutionary hero films,which mainly involves three aspects:narrative sequence,narrative time interval and narrative time frequency."Seventeen Years" Revolutionary Hero Film Narrative Time Narrative time and Chinese traditional narrative time strategy show a high degree of similarity in form,but the core is completely different.The contrast of its narrative timing has an obvious ideological undertone,from the beginning to the end of the event,from the growth of the characters to the death,from the chaos of the environment to the peace,all unfold in the order of natural time.The narrative of the film is not only highly coherent,but also has a logical causal relationship,showing the transition process of life and death,prosperity and decline.The third chapter focuses on the narrative space of the "Seventeen Years" revolutionary hero film,and divides it into two parts:the screen space and the scene space.The former takes documentary aesthetics as its dominant principle,pursues the original ecological reproduction of reality,and opposes artificial manipulation and cutting;A prominent feature of space privatization.The fourth chapter takes the "Seventeen Years" revolutionary heroic movie’s narrative perspective as the research object.On the whole,the exploration of the narrative perspective of the "Seventeen Years" revolutionary hero movies is still relatively conservative,mainly based on the omniscient perspective,and a few films have chosen to structure the narrative by combining a restrictive perspective and an omniscient perspective.The focus of film narration is mostly on the design of the content of the storyline,and it does not pay much attention to the formal structure of the story,and mainly relies on the natural driving force of the plot to promote the development process of the story.