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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

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

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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