Abstract: The method of computational film studies promises a new approach to studying films with statistics and big data. It aims at analyzing formal characteristics of films systematically and digitally in order to fulfill alternative historical narratives and theoretical potential. In this approach,this paper,from the perspective of computational film studies,explores diachronic changes of the formal characteristics in Chinese films from the 1990s by using the online platform and its software,cinemetrics,which includes cutting rates,average shot length,and shot movements. Based on the visualization of relevant statistics,this paper not only re - examines the discourses on generation gaps among different directors throughout the history of contemporary Chinese films,but also re - maps the stylistic characteristics of different directors. It argues that the average shot length of the Chinese movies has declined since 1990s,which results from the market - oriented reform in Chinese film industry. In other words,the pace of contemporary Chinese films becomes faster and faster. During this period, contradictions and choices between " fast " and " slow " have transcended the classification of different generations,as well as its political preconditions,becoming a fundamental problem that all films and directors must solve. In this case,different solutions to this problem provide us new links and categories beyond traditional film studies,and eventually create two modes of acceleration aesthetics.

Key words: computational film studies, contemporary chinese films, cutting rates, discourses on generation gaps, acceleration aesthetics