中国当代电影中的纪实主义

    This dissertation consists of five chapters and a conclusion.Chapter One, the introduction to the dissertation, sets up the theoretical foundation and critical strategies for the definition of docu-realism.Chapter Two, which is the core of the whole dissertation, accomplishes the most essential task of the dissertation -- unfolding the definition of docu-realism.Firstly,docu-realism is the product of the social-economic-cultural reality in China since the 1990s, and in some senses this makes it a counterpart to Italian Neo-realism.Secondly, the philosophical foundation of docu-realism is to emphasize and value the redemption of physical reality, in ways consistent with the theories of Bazfn and Kracauer. Thirdly, nostalgia, featuring a popular perspective and a narrative with documentary style form, is the fundamental aesthetic characteristic of docu-realism.

Preface
Acknowledgements
Dissertation Summary
Chapter One Introduction
1.New Chinese Film: The Inadequacy of Labels in Describing the New Film Practices in China
2.Mapping Contemporary Chinese Film
3.Discursive Parameters
Chapter Two Identifying Docurealism in Terms of History, Philosophy and Aesthetics
1.Historically: Inside and Outside China
2.Philosophically: The Redemption of Physical Reality
3.Aesthetic Principles111
Chapter Three Zhang Yuan: A Breakthrough in Presenting Reality — Escape from the Encirclement of Melorealism
1.Zhang Yuan and New Approaches to Reality
2.Sons·Cinema-verite·Cinemadirect
3.Seventeen Years and the New Documentary Movement
Chapter Four Jia Zhangke: Distinguishing Nostalgia from the Fifth Generation's Exoticism
1.Xiaowu: The Common Man's Consciousness and the Popular Perspective
2.Platform: Loose Narration and Dedramatization
3.Unknown Pleasure: Redemption of Real Life Through Sound
Chapter Five Wang Xiaoshuai, Wang Chao, Lu Xuechang, Zhang Ming: Constructing Docurealist Aesthetics in Film Construction
1.Shot·Deep Focus·Mise-en-scène
2.Colour·Light·Physical Reality
3.Editing·Montage·Longtake
Conclusion
Appendix Main Docurealist Film Directors and Their Works
Bibliography
Glossary

This dissertation concerns a group of young Chinese filmmakers, some of whom are referred to as the " Sixth Generation" ， who have made films outside the state-run filmmaking system since the 1990s. Their strikingly innovative works have increasingly attracted attention both inside and outside China. In fact, this film practice, arising from a new film aesthetics, has formed a new film genre： docu-realism, a term I coin to refer to the new genre in contemporary Chinese fiction films. It is a type of fiction film that for the most part employs documentary mechanisms and adopts documentary aesthetics. The main task of this dissertation is to define " docu-realism ，， as a new film genre.
This dissertation consists of five chapters and a conclusion. Chapter One ， the introduction to the dissertation ， sets up the theoretical foundation and critical strategies for the definition of docu-realism. Chapter Two ， which is the core of the whole dissertation ， accomplishes the most essential task of the dissertation ― unfolding the definition of docu-realism. Firstly, docu-realism is the product of the social-economic-cultural reality in China since the 1990s, and in some senses this makes it a counterpart to Italian Neo-realism. Secondly, the ……