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Licensed Unlicensed Requires Authentication Published by De Gruyter July 4, 2022

Narrative Time and Narrative Viewpoints in Films About Revolutionary History During the “Seventeen-Year Period” (1949–1966)

  • Shaoyang Lu

    Shaoyang Lu is a professor and doctoral supervisor of the School of Journalism and Communication, Peking University. He is a member of the 2018–2022 National Teaching Guidance Committee for Journalism and Communication Majors under the Ministry of Education, the Deputy Director of the Central Cultural Work Committee of the Jiu San Society, and the Chairman of Working Committee for Theoretical Comments of the China Film Association. He has served as the judge of the China News Award, the China Film Golden Rooster Award, the National Social Science Fund and the Social Science Fund of the National Radio and Television Administration. His academic work The History of Cotemporary Chinese Cinema: Since 1977 won the second prize of Beijing Philosophy and Social Sciences Achievements Award and the Excellent Textbooks Award of Beijing Municipal Education Commission. His theses won Literary and Art Review Award of China Federation of Literary and Art Circles three times. He has presided over the project “Research on the Achievements and Problems of the Film Industry since the Full Implementation of the Industrialization Policy of Chinese Films” supported by National Social Science Fund, the key projects “Research on the 60-year Revolutionary Historical Themes since the Founding of New China” and “‘Top-level Design’ of Chinese Film Development” supported by the Social Science Fund of the National Radio and Television Administration, etc.

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Abstract

Film narratology focuses on narrative time and narrative viewpoints. In films about revolutionary history produced in China’s “Seventeen-year Period” (1949–1966), narrative time chiefly involved choice of time, sequencing, and time spans (deformation of time). The creators basically followed the temporal order, so those films seem neat and standardized, giving prominence to the key plots and components. The narrative viewpoint of the day was chiefly omniscient, or a combination of the limited and omniscient viewpoints. The creators chose to let the narrator hide behind the text, so as to strengthen the “visual illusion” and promote the plot development through the plot itself. This narrative technique was decided by the ideology of the times and its aesthetic orientation.


Corresponding author: Shaoyang Lu, Peking University, Beijing, China, E-mail:

Translated by Qing Chang, Communication University of China, Beijing, China.


Funding source: General History of Film Translation in China

Award Identifier / Grant number: 20&ZD313

About the author

Shaoyang Lu

Shaoyang Lu is a professor and doctoral supervisor of the School of Journalism and Communication, Peking University. He is a member of the 2018–2022 National Teaching Guidance Committee for Journalism and Communication Majors under the Ministry of Education, the Deputy Director of the Central Cultural Work Committee of the Jiu San Society, and the Chairman of Working Committee for Theoretical Comments of the China Film Association. He has served as the judge of the China News Award, the China Film Golden Rooster Award, the National Social Science Fund and the Social Science Fund of the National Radio and Television Administration. His academic work The History of Cotemporary Chinese Cinema: Since 1977 won the second prize of Beijing Philosophy and Social Sciences Achievements Award and the Excellent Textbooks Award of Beijing Municipal Education Commission. His theses won Literary and Art Review Award of China Federation of Literary and Art Circles three times. He has presided over the project “Research on the Achievements and Problems of the Film Industry since the Full Implementation of the Industrialization Policy of Chinese Films” supported by National Social Science Fund, the key projects “Research on the 60-year Revolutionary Historical Themes since the Founding of New China” and “‘Top-level Design’ of Chinese Film Development” supported by the Social Science Fund of the National Radio and Television Administration, etc.

References

Branigan, E. 1992. Narrative Comprehension and Film. London: Routledge.Search in Google Scholar

Magny, C.E. 1948/1983. “A Comparison of Film Aesthetics and Novel Aesthetics.” In The Age of the American Novel: The Film Aesthetic of Fiction Between the Two Wars. Translated by Chen Mei, Vol. 3, pp. 4–31. Beijing: World Cinema.Search in Google Scholar

Morrissette, B. 1983/1991. “On Viewpoint.” In Novel and Film. Translated by Wen Gu, Vol. 2, pp. 35–62. Beijing: World Cinema.Search in Google Scholar

Published Online: 2022-07-04
Published in Print: 2022-05-25

© 2022 Walter de Gruyter GmbH, Berlin/Boston

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