Characteristics of Storytelling in Epic Cinema
DOI:
https://doi.org/10.54097/ijeh.v10i3.11783Keywords:
Epic film, Storytelling; Genghis Khan.Abstract
The core of epic film lies in telling a good story on the screen, in order to achieve this purpose, epic films are taken from history and claimed to be faithful to history, but these are not historical reality, and can only be called image reality. Based on this effect, the core of the story to be told in epic film is hidden behind the screen, and it is for the audience to mobilise their own deep psychological structure to reconstruct this again after watching the film, and the charm and vitality of this story is thus reflected.
Downloads
References
Mitri. The Aesthetics and Psychology of Images[J]. World Cinema, 1988.
Peng Gang. Readings in Postmodern Historical Theory [M]. Beijing: Peking University Press, 2016.
Nick. Brown. Historical Review of Film Theory [M]. Beijing: China Film Press, 1994.
Song Suli. Research on Chinese Documentary Films in the Perspective of Narrative Psychology (1978-2008) [D]. Communication University of China,2008.
Li Xianjie, author. Film Narratology: Theory and Examples [M]. Beijing: China Film Press,1999.10.
Robert Scholes, [US] James Fearon, [US] Robert Kellogg, author. Yu Lei, Translation. The nature of narrative [M]. Nanjing University Press,2015.1.
Zou Qingji, author. Genghis Khan [M]. Shanghai: New Knowledge Publishing House,1955.
Hayden White. Metahistory: The Historical Imagination in Nineteenth-Century Europe [M]. Nanjing: Yilin Publishing House.2013.
Downloads
Published
Issue
Section
How to Cite
