A Study on the Early Film Aesthetics of Wu Tianming(吳天明) through the film 〈River Without Buoys〉

This paper aims to explore the aesthetic orientation, worldview, and creative language conveyed in Chinese director Wu Tianming’s first film, River Without Buoys (1983), and to examine how these elements are articulated through audiovisual media. The study also seeks to provide insight into how these artistic traits are inherited and further developed in Wu Tianming’s subsequent works. To this end, the paper first analyzes the key influences that shaped Wu Tianming’s cinematic aesthetics, including his childhood experiences, the impact of third-generation director Cui Wei, and his collaboration with fourth-generation director Teng Wenji.<br/> The narrative structure of River Without Buoys is analyzed through its three central characters: the old man Pan, Shi Gu, and Zhao Liang. By closely examining the film’s audiovisual techniques, this study explores how Wu Tianming articulates his distinctive aesthetic vision. Wu utilizes the contrasting settings of the Xiao Shui River’s raft and the village on land—spaces that are physically separated yet emotionally interconnected. Through these settings, he compresses and reflects a historical period spanning from the Great Famine to the Cultural Revolution within a narrative time frame of just two to three days. Moreover, the internal conflicts and transformations of the protagonists develop into a didactic trajectory, ultimately forming the film’s dramatic structure. This approach signifies a distinctive evolution in Wu’s cinematic technique.<br/> Through this analysis, the study identifies several key motifs that are central to the narrative of River Without Buoys, such as male camaraderie, the multifaceted symbolism of water, and the rich incorporation of local folk songs. These motifs prove to be pivotal, serving as essential components of Wu Tianming’s cinematic aesthetics. Furthermore, the paper illustrates how Wu’s pursuit of poetic sensibility and emotional expression through natural elements aligns with the modernization trends championed by fourth-generation filmmakers.