Postmodern Aesthetics in Six-Generation Chinese Films
Postmodernist films, in the social context of post-cold war China
in the 1990s, corresponded with Deleuze's micro-politics of
aesthetics to the culture of disintegration in these independent
cinemas. The deformation of grant narrative has long been thought
to play a major role in creating social change in China, in large
part because the discourse in everyday life gives individuals
opportunities to better understand the problems facing their
transformaing society. In this research, drawing on Lou Ye, Wang
Chao, Zhang Ming s independent films, which make them well known
among the six-generation film makers and the international film
festivals, I examine the relationship between politics of time-
image in Six-Generation Chinese films and aesthetics of
postmodernism in contemporary China. With the analysis of
mise-en-scene, I ask two key research questions: How does
postmodern culture shape the time-image in Sixth Generation Chinese
films and their cinematic memory of social- transformation? What
are the claims of social and aesthetic post-modernism in the
discourse of Sixth Generation Chinese films?
Shan Lan has a Masters Degree in Film Studies from the University of Sydney and a Bachelor of Literature from Nankai University. She is currently a Ph.D. candidate in Chinese Literature at the University of Hawaii at Manoa. She has several publications in China and her papers on Chinese film were presented in international conferences.
