有关历史题材影视剧创作的审美悖论（Aesthetic paradox about the creation of historical films and TV plays）

1、有关历史题材影视剧创作的审美悖论（Aesthetic paradox about the creation of historical films and TV plays）Aesthetic paradox about the creation of historical films and TV playsSource: Chinese Paper Download Center 08-11-20 10:18:00 editor: cw2112549-Abstract: historical dramas such as the history of the truth and ficti

2、on, nationality and individual and criticism and identity the contradiction between the objective to the turn of the century Chinese history theme film and television drama in the history proposition paradox, compose a suitable the needs of the times the new historical memory.Key words: historical t

3、hemes; film and television drama; creation; aesthetic paradoxPrefaceIn the history of human cognition, paradox or contradiction often becomes the obvious sign of guiding or producing new thinking with the deepening and deepening of understanding. Just as the ancient Greek Zeno paradox and the two la

4、w reverse in Kants classical period of Germany, it is found that there are many paradoxes that can not be avoided in the creation of historical themes. Chinese historical theme TV drama boom at the turn of the century, making an objective historical drama the paradox has aroused more attention and c

5、ontroversy, and thus reflects the evolution of the turn of the century Chinese film discourse humanistic ideas, historical value and artistic value.Paradox of history: truth and fictionIn all paradoxes of the creation of historical films and TV plays, the contradiction between truth and fiction of h

6、istory can be said to be the most basic paradox. Because of the historical drama named itself hidden history and reality and play the art of fiction of the two dimensions, and the argument about the historical drama, mainly reflected the creation of what is the history of the true, or to play art wi

7、th Fiction?Since the genius of the historian Sima Qian created the historical biographical narrative mode, narrative history becomes China classic historical theme of literary and artistic creation, and even all the only proper course to take literary and artistic creation. In his reading of the thr

8、ee laws of the land, Mao Chonggang thought, the narrative of the Three Kingdoms is as good as the historical records. Jin Shengtan in the read the fifth book praise in the Water Margin is the historical records . Zhang Zhupo in the criticism reading the first book of Jin Ping Mei simply think, Golde

9、n Lotus is a historical records . This is the national cultural psychology advocate historical biographical narrative about the classic historical drama creation, the historical authenticity is far more important than the art of fiction, seven facts, three fiction is therefore become an important gu

10、iding principle for the creation of historical drama and criticism. Wu Han in 1960 on the historical drama and a series of articles clearly pointed out that historical drama must have historical figures, according to the facts, should have according to the opera, such as fugitive, Qin Xianglian etc.

11、 these belong to the folklore and the lack of historical basis of the repertoire, in a strict sense can only be referred to as a story or costume, and were excluded from the historical drama. (1) the authenticity of historical dramas, is mainly for the respect for historical figures koron; respect s

12、ocial relations basic historical figures respect the historical facts evident to anyone.Obviously, although this viewpoint has noticed the difference between historical drama creation and historical narrative, it still insists that the highest purpose of historical drama creation is to help people i

13、mprove and even deepen their understanding of the nature of history. Aristotle in the Poetics in the so-called historians and poets, the poets task is not in the real event, and in the narration may: Based on authenticity, necessity of possible events, are being repeatedly cited. Therefore, the clas

14、sical historical dramas mainly for writers removed surface accidental historical events, on the basis of authenticity and the laws of necessity, characterized by a typical nature of the historical development of the reality, and finally show the future and destiny of human history.But, from a new hi

15、storical point of view, man is only a historical existence.As for the present individual life, as a living history that has already existed, he has only been able to face all kinds of historical documents or historical discourses as historical texts. Individual life can only select history and chang

16、e history through the interpretation of historical texts. In this sense, any decoding of historical texts can not be separated from the subjective imagination of the interpreter, and may evolve into a historical list of victors who conform to the current mainstream ideology. With the emphasis on the

17、 side of Western emphasis on religion, focusing on this side of the China culture has a strong historical complex. History is not only a genius and Persuasion practical function, but also to resist the death and the ultimate trial significance. On or down, become deep Chinese heart ambition or fear.

18、 Obviously, it is not difficult to understand why Chinese historical films and TV plays are so popular at the turn of the century. In the context of the global age, history has become the imagined community of the Chinese nation. Of course, the cultural transformation, objectively the historical roo

19、ts with a conflict between tradition and reality, this thesis album history of the creation of films and TV series the aesthetic paradox it discusses mainly the theory of historical drama creation in the presence of a paradox , as the Oriental wonders of the new folk custom film, womens history and

20、individual discourse era the martial arts film respectively from different dimensions, discusses the historical themes TV drama phenomenon. Therefore, the essence of history is fiction, and the creation of historical drama should be expressed as a kind of imaginative revelry. It is in this historica

21、l concept, from Hong Kong to the mainland, such as the Westward Journey, Tang Bohu scholar, The Legend Of White Snake, Princess, joking, joking Qianlong Ci Xi historical costume dramas, competing on stage. The deduced drama revolutionized the classic historical drama seven kind of historical facts,

22、the creation principle of three fictional, rejected the stereotype classic historical drama history that textbook and serious, even deconstructs the time limit of long spans between history and the moment, intended to past and time code now overlap, narrative history is no longer motivated to pursue

23、 the truth of history, but also become a consumer of historical images, in the historical space and time to indulge the catharsis of desire.Therefore, the paradox lies in historical movies and TV plays, false true and false, any real history once transformed into art text, it inevitably has the fict

24、ional nature of space and time; any fictional text trying to break into the history, it is easy to cause real peoples imagination of the history. From the perspective of his creation, if the emphasis is on the historical drama the value of knowledge, so they tend to pay more attention to the artisti

25、c director of imagination as good as possible public recognition of history of real; if attention is paid to the aesthetic value and entertainment value of the historical drama, then the director may be the virtual structure of this dimension to the extreme.In this sense, the paradox of truth and fi

26、ction in the creation of historical theme film and TV drama is not only a clash of artistic imagination, but also a clash of aesthetic ideas and cultural ideas.Paradox two: historical nationality and individualityFrom the cultural conception, is the paradox of historical play, it can not only streng

27、then the mutual recognition of ethnic culture, and become a national imagined community; and to highlight the blood origin of the family, and become the spirit of personal return.First, inIn the process of constructing the national imagination community, directors and editors often like to take an e

28、pic narrative as an exhibition hall of national spirit specimens, and pursue a narrative structure of time and space span. Such as the creation of the world, Armageddon, big turning point, March, sunrise, Long March and other domestic TV drama,Without exception, with great cross coordinates of histo

29、ry as its basic narrative framework, trying to through the May 4th Movement Chinese, the founding of the Communist Party, the cooperation between the Kuomintang and the northern expedition, eight? the Nanchang uprising, the Anti Japanese War, the liberation war, Peoples Republic of China was establi

30、shed in the history in the fission of the situation of the times, to the historical perspective of national secret grasp in the history of the national soul, and finally reconstruct the historical evolution of the modern Chinese twentieth Century the most thrilling also the most exciting and become

31、a legend of a nation .Interestingly, in the creation of epic historical drama, although the directors are trying from the modern perspective to interpret history, but carefully put this interpretation confined to a discovery of the history, but not a kind of unbridled imagination and distorted, givi

32、ng a strong sense of history of literature. This kind of TV drama in the narrative history, often take the third person omniscient point of view, the narrative in the text, the history as objective in front of the viewer, the viewer will then self experience as a historical witness, the image of the

33、 historical interpretation of real history. Which greatly strengthened the TV drama described things real sense and sense of history, means that this event has been finalized, completed and can not be changed, either as a historical fact, or as a kind of meaning and value, they are regarded as a kin

34、d of absolute past, and become a social public life and spiritual eternal public discourse.In line with this, these epic films, in describing the magnificent historical battles, tend to describe a hero who grows up in the baptism of blood and fire with a poetic touch. From the point of view of histo

35、rical materialism, history is certainly created by the people, but it is undeniable that the national ideals of the specific historical period are often the heroes of history. When the epic drama makes these heroes revived and true to life into peoples vision, the epic drama of movie and TV shows, i

36、t is no longer just historical events and historical records, historical spirit and ideal reproduction. At the turn of the century, Chinas historical films and TV plays have become heroic epics because they are dedicated to depicting heroes who have been baptized in major historical events and natio

37、nal wars.Lottie believes that in the post modern secular culture in the context of the abdication, heroes from know a big secret and Superman reached the capital truth reduced is just a good life mortal, (2) although the hero will not withdraw from the stage of history, but history is no longer be r

38、egarded as a divine revelation, no longer is represented as a heroic epic, it is not only a historical law and become a vassal, not only basic support, woven by the individual desire and feelings of the life world. In this sense, the fifth generation director as the representative of the new TV dram

39、a in the folk narrative history of the time, although not evade the court, war, riots and other traditional giant historical landscape, but the focus of the narrative is no longer the history of heroes and heroic deeds, often in a limited inner focusing narrative perspective. To describe the histori

40、cal landscape in giant hidden behind the individual weddings secular life picture. Such as yellow earth in the director painstakingly arranged eight army artists Gu Qing to collect folk songs, inadvertently witnessed witnessed against generations of the rules to fight to the death of the peasant gir

41、l Cui Qiao marriage tragedy. Red Sorghum is simply at the beginning of the film to establish the narrative I status, I tell you about my grandfather, my grandmother this thing, this thing in my hometown, so far has been mentioned. Obviously, the film has tried to highlight the narrator I the identit

42、y, its intentions in that movie narrative history is I HERITAGE family history, is from I to tell Grandpa, grandma family story. This deliberate emphasis on my personal identity,The objective that film narrative history is not a history of mainstream national imagined community, but try to make priv

43、ate, private, and the past the so-called singular capital history (History), divided into many complex history (Histories); the non narrative and non reproduction. History (History), disassembled into one by the narrator tells the story of ( his-stories ), (3) the narrative becomes a kind of their p

44、lace and home spirit return, become a personal memory fragments of history.However, just as the collective is made up of individuals, the history of any individual can not escape the projection of the collective of the nation. The historical discourse of nationality and personal paradox, decided the

45、 fifth generation director in writing by the desires of individuals at the same time, reflects the reflection and critique of national collective historical destiny, many critics even think that the rebellion and desecration of fifth generation movie interpretation of authoritarian order violation o

46、f individual desires and individual desire to autocratic order the history of folk discourse, is actually a kind of the other in the western view of logical deduction on repression and persecution and destruction of the national historical allegory, thus becoming a sad and touching wonders of the Ea

47、st in the western horizon, consciously become a transnational context of post colonial discourse.Paradox three: Critique and identity of historyAll the history is contemporary history, this well-known well-known saying, just contains another paradox of historical theme film and television drama.On t

48、he one hand, the era of the creation and acceptance of historical theme film and television drama objectively demands that any historical theme film and television drama can not accept the traditional historical proposition completely. In twentieth Century the suffering of domestic trouble and forei

49、gn invasion, Chinese national culture, to the modern western culture as a reference, three thousand years have seen big changes (4) the modern transformation of the traditional culture, the nature of knowledge and its legitimacy, and are therefore subject to fundamental questions and subversion. The

50、refore, the 54 since the first Chinese intellectuals are focusing on the national history, China historical literary and artistic creation is particularly noticeable, its purpose lies in the traditional placed in the critical position, through the criticism of history, highlighting the new ideas and

51、 new knowledge, legitimacy and rationality, urges the people to make their own psychological get rid of the fetters of history as soon as possible and into new knowledge, ideas and beliefs in the world.But on the other hand, no matter how the creator gives the historical subject a new cultural propo

52、sition, the traditional ideology of the historical subject itself can not be completely abandoned. Since twentieth Century, the modern transformation of Chinese culture, concern and criticism of the historical drama old wine in a new bottle has been 1920s Guo Moruo wrote linger on faintly, he emphas

53、ized the historical drama creation motive, is through ancient bones, boasting some life into separate. But the key to the problem lies in the fact that the ancient skeleton bred in the agricultural civilization, whether or not the load can produce the modern consciousness in the industrial and post

54、industrial era When modern consciousness is expressed by the historical themes of the ancients, is the modern consciousness weakened or even eroded by the traditional consciousness? The turn of the century, such as the Yong Zheng Dynasty, Kangxi Dynasty, world granary, Han Wu Emperor and other feuda

55、l emperor of the historical drama, although the director gives the rule of law and reform, to punish corruption and age thinking, such as Chen Jia Lin said: I have an idea in the brain to shoot Kangxi Empire Drama: Kangxi worth shooting. Kangxi was an emperor as, among the best in the history of all

56、 China emperors, catch, San Francisco, Ping Ping aobai, Galdan recovered Taiwan and the clearance of the palace reflects his historical contribution, even ChineseHe was given a share of the territory. (5) but its ideology has aroused great controversy. Kangxi Dynasty theme song I really want to live

57、 500 years more, but also aroused many peoples strong resentment.Some people are exempt from emotion, now just turn on the TV, want to see the dingdai Hualing became a luxury, from the noisy princess to the posturing of the emperors, the hunchback Liu Gong pot to tongue of Ji Xiaolan, there has not

58、come to an end, there is also the opening Gong, and these are at best in their imperial drama called Ming Jun, blue sky, the thought of rule by man.In his essay, the advantages and disadvantages of history for life, Nietzsche argues that history needs to be interrogated, criticized and ruled for the v