China's fifth and sixth generation directors and prose films.

The Sexual Orientation of the Sixth Generation Directors

Although compared with the fifth generation, the sixth generation has many factors that are not unique. Many scholars have also commented that they lack a unified aesthetic banner and have no convincing creative achievements. Even many directors reject this intergenerational division, but it is undeniable that they have brought fresh strength to China's film industry. It seems that various factors that are not conducive to summarizing its group characteristics are precisely the vitality and development motivation of the group. Only by comparing similarities and differences repeatedly can we establish a dynamic and overall description of a group. Personally, I think they still have many similarities in values and artistic pursuits. The sixth film has the following characteristics:

First of all, they have the same morality, values and aesthetics.

The directors of the sixth generation are kind, sincere, independent and responsible on the moral level, and they are obsessed with the cultural spirit and moral spirit of their own nation. On the level of artistic philosophy, the sixth generation directors are very pioneering on the level of humanity and morality. They also pay attention to ecology, environment, employment and the growth of teenagers. Their character and personality have been forged by the spirit of populism, especially those who are excluded and discriminated by society, and the poor and marginalized people have become their most direct concerns. Therefore, their films are very kind, which makes the audience feel the pity and loneliness of life in the smooth narrative, and also makes people who trample on life and dignity feel ashamed and awaken their conscience. On the aesthetic level, the directors of the sixth generation have good artistic talent and sentiment. They highlight the truth with realistic and shocking long shots, and learn the expression techniques of Italian films. In their film aesthetics, we can see the styles of famous directors such as "Rome Unattended", "The Bicycle Stealer" and Abbasi and Kitano Takeshi. Its theme is combining rigidity with softness, with a sense of humor and sadness. The picture is full of history and the lens is very delicate. Although the artistic styles of China's sixth-generation films are mainly "new realism", they are slightly different from each other. Some of them have the elements of "Left Bank School" movies, some have the style of "experimental movies" in the United States, some of their works present surreal images, and some reflect the artistic spirit pursuit of expressionism. But "new realism" is the aesthetic style shared by the directors of the sixth generation.

Secondly, * * * has the pursuit of subjective spirit.

The directors of the sixth generation are brave, at least for the sake of art, they have the courage to pursue tirelessly. They don't get paid much, so making movies has become their personal hobby. The directors of the sixth generation are rich in themes, novel in ideas and unique in themes, boldly expressing the distortion and alienation of human nature and the suffering and struggle of people, all of which are their high subjectivity. "Man is the yardstick of all things" and "Everything is for me", but in the film history of China for nearly a hundred years, the sixth generation directors realized the subjective spirit of self-reliance and independent innovation. The subjective spirit of the sixth generation directors is also manifested in their freedom, choice and creation. They can use their wisdom and practical strength to dominate the outside world, treat social objects, natural objects and artistic objects independently, have an innate sense of purpose and mission in shooting, and do not need all kinds of "ism" spirit to motivate them. It is this kind of consciousness that makes the directors of the sixth generation surpass the expressive force and penetrating power of the directors of the previous generation, and their films are more real, more direct and more realistic, with more profound criticism and reflection.

Third, the sixth generation directors pay attention to inheriting the tradition of avant-garde experimental films and European art films.

Although, like the fifth generation, most of the "sixth generation" are from Beijing Film Academy, they are people who have really studied movies and have a deeper understanding of the art of movies. The sixth generation is more interested in exploring people's inner secrets with movies, rather than just using movies as a tool to realize their ideals like their brothers and sisters. Art film is the embodiment of its original goal and ultimate significance, and the extension of its relationship with the world. During their school days, these young people were deeply influenced by Italian neo-realism and French new wave. At the same time, there are also many admirers of western art film directors, such as Godard, Truffaut, antonioni, Ferini, Bergman, Allan Ray Nye and fassbinder. At the beginning of their appearance, they encountered a situation similar to Italian neo-realism: lack of funds, emotional rebellion and artistic * *, which objectively determined the content and style of the sixth generation movies. Wang Xiaoshuai's Seventeen-year-old Bike and Cyclist, Lou Ye's The Double Life of Suzhou Creek and vilani Card, Zhang Ming's Sex with the Tin Drum and Tired all show the intertextuality of film texts. Starting from the current social reality, the sixth generation extended its perspective to the concern for marginalized people and vulnerable groups and the sheltered social reality, and explained the life experience and humanistic care with its own unique film language. They boldly carried out pioneering experiments in film art, pursuing westernization of images, obscurity of contents, randomness of values and individualization of narration. Tony Rayns once pointed out: "We can objectively say that it is always a good thing that a film industry can fundamentally and constantly transform itself. The expression of this meaning once appeared in France of 1959- 1960, Germany in the first half of the 1970s, Taiwan Province Province in the 1980s and South Korea in the 1990s ... Now, it is appearing in Chinese mainland. "

In a word, the sixth generation directors started the revolution of film concept and film narrative with the vanguard and vanguard of film.