Aesthetic characteristics of the fifth generation directors

In a narrow sense, the "fifth generation directors" refer to directors who graduated from Beijing Film Academy (later extended to the departments of photography and fine arts), including Zhang Yimou, Chen Kaige, Tian Zhuangzhuang, Jianqi Huo, Wu Ziniu, Jun-Zhao Zheng, Zhang Jianya and Huang Jianxin. The "fifth generation director" experienced the catastrophe of 10 and was in the era of reform and opening up. They have sharp minds, contact with people and listen to the voices of the lowest people, so their films are full of life and tension, and they are eager to explore the history of national culture and the structure of national psychology through films. In material selection, narration, characterization, lens language, picture processing and so on. They not only follow the tradition, but also innovate. The works of the "fifth generation directors" are especially subjective, symbolic and moral. Generally speaking, the films of the fifth generation directors have aesthetic characteristics such as philosophy, criticism, nationality and symbolic flow.

philosophic

Jun-Zhao Zheng's work One and Eight tells the story of the Eighth Route Army instructor Wang Jin and eight bandits from hostility to the war of resistance. The film aims at survival, death, love and people-oriented, integrates the philosophical thinking of real life into the film works, endows the film with the protection of human nature, and makes the film reach the height of poetry and philosophy. One and Eight is the first film of China's "fifth generation" movies, which announced the beginning of a film era and became a typical symbol of the "fifth generation" mirror language.

criticalness

Huang Jianxin's work "black cannon incident" tells a big misunderstanding caused by engineer Zhao looking for a lost black gun. The film keenly grasps the social hot spots and people's psychology, highlights the strong critical intention, guides the society to deeply reflect on history, and has a serious sense of social responsibility. This film is a classic in the middle and late 1980s. It not only reflected the social and cultural trend of thought in China at that time, but also implied various problems worthy of our consideration from real events and behaviors, which was deeply critical.

nationality

The Yellow Land directed by Chen Kaige tells the story of Cui Qiao, a poor girl on the Loess Plateau in northern Shaanxi, who was decided by her father to marry early when she was young. Gu Qing, a member of the Eighth Route Army Art Troupe, came to Cui Qiao's house for a tour. Speaking of women's marital autonomy in Yan 'an, Cui Qiao yearns for it. On the wedding day, she was unwilling, fled her husband's house, rowed across the river and pursued a new life. The film reflects China's unique national culture, is a portrayal of the backward feudal marriage thought, expresses the reflection on the backward thought, has a rigorous and meticulous misunderstanding and coincidence plot, and closely combines the fate of individuals with the fate of famous families. "Yellow Land" not only marks the birth of the fifth generation of directors, but also reflects the culture of China, with profound national characteristics.

Symbol stream

The Blue Kite directed by Tian Zhuangzhuang reflects Chinese mainland's political movement from 1953 to 1967 through children's eyes. The film uses symbolic flow many times in narration, which makes the story content have strong symbolism and implication. Through the changes of light, shadow and color, and the metaphorical effect created by the lens language, the overall effect of the film is vivid.

The aesthetic characteristics of the fifth generation directors include: philosophy, criticism, nationality and symbolism. It is a unique group of directors in the film history of China, which has played an indispensable role in the film industry in China and created a brilliant generation of China films.