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From an online communicating mode of video website to a new mode of filmwatching, “Bullet-screen” has realized its transformation from the context of “Otaku Culture” to public communication space. The emergence of the "Bullet screen" projecting mode embodied the audience’s appeal of identity, existence and discourse power in the background of post-modernism context. But why did “Bulletscreen film” used to become a cultural boom and then receded soon? This article will put "Bullet-screen film" into the context of "Aestheticalization of daily life" and "Aesthetic fragmentization", and analyze the psychological impact of audiences in the mode of “Bullet-screen” in the view of sociology and culturology. Nevertheless, through discussion and analysis on the coupling mechanism between “Bulletscreen” which as a projecting mode and “film” which as a category of arts, this article will also explore the development mechanism Bullet-screen film’s art identity and continuity. Keywords—bullet-screen; audiences; discourse power;

Demands in qExistenceq and Carnival from qTrash TalkingqAnalysis on the Audience's Psychology of Bullet-screen Movie