In the first half of 2002, the domestic film market was calm, and many of the top prizes were ceded to classic Hollywood-style enduring imported products such as "Harry Potter". But at the end of the year, several masterpieces carefully crafted by one of the few domestic directors quietly surfaced, and the publicity campaign gradually intensified. Zhang Yimou's "Hero" has been long-awaited, but it has not been seen until today. Its true face, whether it is strictly guarding against the piracy market, or the limited number of 50-person auditions in Shenzhen and Shanghai until the unprecedented time to see a movie and need to show an ID card, gives people a feeling that the New Year's film does not stick to the end of the year. The feeling of never giving up. In fact, as long as the film is well arranged and the attendance rate is high, why is it necessary to do this? The slogan of swearing to reach 200 million at the box office has whetted the audience's appetite, but don't wait until it's boring when people leave the building empty, and no amount of patience is worth the word "grinding".
Chen Kaige didn't learn from him. While Zhang Yimou was still fanning the flames for his first martial arts film, the men, women and children of "With You" were already reaping various awards. The plot is quite ordinary, and after more than half a year of planning, it has earned a lot of touches that people have not had for a long time. From the perspective of emotion, it is already a big success.
I watched the film "With You" twice on the recommendation of a friend, and every unforgettable clip left me with an unforgettable sigh, and I thought more, from "Party A and Party B" by Ge You and Feng Xiaogang. From Feng Gong's "The Happy Life of the Poor Zhang Damin" to Zhang Yimou's breakthrough in Chinese film style in the past ten years, Chen Kaige's success today is more based on a brand new Chinese film system after a qualitative change. Comparing things before at least the 1980s, we will first find out how much the general environment, general trend and general direction of an era will have an impact on the overall attachment of artistic creation. In the 1950s and 1960s, when the political situation had just stabilized, so many films were shot that reflected the themes of the War of Resistance Against Japanese Aggression and the War of Liberation. Under the red flag, the spirit of revolutionary patriotism was promoted; the situation in the 1960s and 1970s was complicated. , the objective reality of people's words is terrible, and life and destiny are in danger, which requires us to look for the distant footprints in the glorious image of Lei Feng and Jiao Yulu, and to comfort the weak heart at that time; reform and opening up is better, at least people's free thinking can be changed from the original The numbness is so insensitive that a hundred flowers bloom and a hundred schools of thought contend, but the initial stage of breaking through this layer of restraint is always a bit ridiculous in behavior and lacks real deep thinking. However, those who adapt to the trend of the times are always quite vigorous. After the 1990s, the conditions for the full and independent development of Chinese films in various fields of politics, economy and culture have matured, and the new generation of film directors have begun to carry out a series of truly valuable thinking and attempts under the principle of "preferring shortages rather than excessive".
Any process of reform and adaptation is a process of boldly breaking the paradigm of predecessors, forming one's own family and gradually exploring, just like Deng Xiaoping's metaphor to cross the river by feeling the stones, correct what is wrong, and carry forward what is right. This is a method in the sense of methodology. On the other hand, in today's era of surging innovation trends, if you want to gain an invincible position in the fierce competition and lead the trend more avant-garde, then in addition to breakthroughs and adaptations, you need to be more practical and calm. Analysis of —— those who see through the future will better grasp the present, and how to grasp it, Feng Xiaogang said at an award ceremony in the film industry:
"China's film industry has changed five generations of directors so far, and each generation has its own style and system. The first generation of directors were people who were groping in the dark. Their achievements did not follow in the footsteps of their predecessors. Therefore, in the movie temple, they were the first to lay the foundation, build a style building, and guard the door, and no one was allowed to come in. Unexpectedly, the second-generation director came out. Instead of going through the main entrance, they climbed out of the window. If you go in, you won’t be able to keep it. If that’s the case, let’s keep it. When the third- and fourth-generation directors arrived, they didn’t expect them to walk through the door or jump out of the window. Maybe they got in from somewhere underground. , can also get a piece of the pie, everyone thinks it's interesting at this time, what else can the juniors do in the future? Who knows that when the fifth-generation directors show up, they won't enter the house, and they will set up somewhere outside. I set up a tent and used my own unique perspective and vision to compete with the entire system that the previous generations have worked so hard for. It has been so stalemate for ten years, but now it is obvious that these things that seemed "influential" in the past have the upper hand. The old generation of filmmakers are currently thinking about how to get out of an old house..." There
is a bit of black humor, and such words can only be said from the mouth of Feng Xiaogang, who loves black humor. After listening to it and thinking about it carefully, even if you don’t admit that his exaggerated metaphors are too exaggerated, you have to sip it in your heart. Starting from Zhang Yimou’s “Red Sorghum”, Chinese film lenses have begun to focus on the “unpopular” little people. Rejecting the big scenes and wide viewing angles of the past, the idea of knowledge in the subtleties and thundering in the silent places gradually occupied a wider screen and a longer film. When it comes to big productions, it’s not that we don’t have them. Since ancient times, China has never lacked population. The so-called big productions in many scenes can be built by people. The essence is far from being seriously understood. Americans spend the same money, spend the same time and manpower, and the last thing they shoot can sweep the world box office. Why do our own works even hate our own people? This is not only due to mentality. Even if there is a need for quick success sometimes, it must be admitted that we have not yet tapped into the breadth and depth of human nature in this space that nakedly displays the dynamic art of life.
When the reporter interviewed the philosopher Zhao Xinshan, he asked him this question: Why is science and technology progressing rapidly in this century, yet people in this century still need music from the 18th and 19th centuries to comfort their souls? Scholars answered because the evolution of human nature is very slow. The mental symptoms of certain groups of people today are of course not just the result of the cultural products of the times, but as long as we recall how the uniform slogans and banners of the Cultural Revolution had an impact on a generation eager to open their hearts to the world, we can understand If a society does not inspire people with excellent ideas, how much will it imprison the development of personality? If the greatest contribution of reform and opening up to Chinese society is that we finally understand that the essence of human beings is individual freedom, then from this, the value orientation of respecting the choice of human nature must naturally return to its dominant position in works of art. Therefore, when it comes to the subject matter of the film, we know that it is not humane to make a big name, and the great achievements of heroes are not popular. Only by following the public opinion and moving with the trend, and finally getting the maximum praise from the audience, can it be possible to get out of the old concept. , open up a new film world.
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Blindly seeking proof in theory, deducing logically, and analyzing ideas would be boring. Let's go back to "With You", there are places in the film that feel procrastinating, confusing but meaningful. For example, I noticed that The night before Liu Xiaochun was going to Beijing with his father, Xiaochun came up from the first floor when the two were packing up, picked up the urinal at the entrance of the stairs to urinate with his back to the camera, and then put it back to the original position. In fact, does this count? What about a redundant scene, deliberately set up like this, does it highlight Xiaochun's casual and ignorant rural children, or does it illustrate the poverty and hardships of his family? I don’t think so, there is no need to add a footnote to the above two aspects, but after all, movies are about life. As art, there are exaggerations, ingenious arrangements, and human factors, but in any case, the film is made to give life What is more important is to rely on reality. The packaging is too delicate and often gives people a sense of distance and feels unrealistic. When the father and son are packing things, the son just takes the time to urinate. This does not mean anything, what does it mean, But this is real life. We are looking for ourselves and experiencing life in these ordinary scenes. Why did sitcoms like "I Love My Home" and "The Story of the Editorial Department" become so popular when they came out? Not only is the cost low, but this is the trivial matter of sesame in daily life. Everyone will encounter bittersweet and sweet. The first time zooming in on the screen gives Chinese people the opportunity to see themselves at close range. The rendering and processing of art An ingenious fit is found here. The creation of realm often finds the standard of interpretation from the return of human nature after reaching its peak.
Lily in the film is a girl who likes fashion, loves fashion, and tries to make her life as comfortable and modern as possible. It is not difficult to see that, despite how well-packaged she is on the surface, she is always a small citizen whose life is unsatisfactory and whose social status tends to be at the bottom. Image, because she has no social status from the beginning to the end, but the precious thing is that Lily is a real temperament, who dares to love, hate, act and act, pay Xiaochun and cry to Professor Yu at that time, It is a shining conscience discovery in such a life situation, which can not help but make the audience identify with her character existence. Without the words and deeds of such characters, the images of Xiaochun and Liu Cheng could not have been rich, heavy and three-dimensional. Looking at Teacher Jiang again, Wang Zhiwen is an actor with excellent acting skills. In any drama, his magnetic language skills and unique life connotations that he has developed as a line teacher are the reasons why he is loved by the audience. In "With You", his outstanding performance won the Golden Rooster Award for Best Supporting Actor, which is also an affirmation of his achievements. And almost every segment of his face in the film will become an eternal classic handed down to future generations. Of course, it's too early to make such an evaluation. From the beginning of his appearance, Mr. Jiang has been sloppy and messy. He is indiscreet and quarrelling. Not only Xiaochun but also the audience are deceived. In fact, he deliberately arranged his details. The image is exactly the glorious entity set up by the film to reflect the theme of favor over fame and fortune. He told Liu Xiaochun, I can't give you success, only music. Frustrated talents like Teacher Jiang are prone to look down on many flashy things after suffering many setbacks, which is similar to the result of the opening music competition. It is the strongest psychological defense line set by the purest holy place in the film. In fact, it is also good, if the superficial things are removed, the essence of music will be revealed in front of the sincere mood. In comparison, then Professor Yu can only create success regardless of the spirituality of music? Not at all, the unity of emotion and pursuit of realm does not exclude the entry of utilitarianism. However, even if he is as knowledgeable as he is, he uses Xiaochun's old piano and his life experience to stimulate the burst of emotions. Teacher Jiang wants nothing. The temple of music in his heart is only open to Xiaochun. The important thing is that when you are immersed and intoxicated in pure rhythm, the things around you are not important, enjoyment, not labor. , the highest level of labor still requires creativity, and they don't, the heart-to-heart connection of a few meetings is enough for a lifetime.
Many aspects of "With You" are ingeniously arranged and carefully constructed, and all plot clues are arranged based on the most core theme ideas, from Liu Cheng's desire for success to the eve of the competition out of inferiority and obligation With a sense of completion, Xiaochun finally gave up her success and went to express her father's love... The feelings were surging like waves in transition, and waves were rolled up at the highest point. Such an excellent work has been gone for a long time. Yu Si is prosperous, as if it is a spiritual feast after a gluttonous night, full of refreshment.
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Just when the new generation of film directors couldn't let go in their attempts to vulgarize, the awards of "Red Sorghum" and "The Lawsuit of Qiu Ju" at the Cannes film timely gave the Chinese a real surprise. The success of these two films at international film festivals first gave Zhang Yimou, who had the courage to pioneer, to find a confidence. Even if he took a slant, it brought the Chinese film industry, which has long been sluggish in the world film industry, out of its trough. I saw the light of hope belonging to China. What belongs to the nation is what belongs to the world. At this time, we must take this classic saying seriously. Compared with the globalization of Hollywood, our own opening to the film market is really too late. When the videotapes were all over the backcountry, it was sad to find that the process of Chinese-made films being recognized worldwide has just begun. Even today, the Chinese films that Americans talk about are still the kind of Chinese films like Crouching Tiger, Hidden Dragon. People watched martial arts and Jackie Chan's kung fu masterpiece without feeling anything. It is true that Jackie Chan is a great pioneer, at least he has won the respect of the Avenue of Stars for his unremitting efforts, and also the respect of his American counterparts for the Chinese film industry, but this is tantamount to the peak achievement for the individual. After all, it is too trivial for the whole of China. The success of Zhang Yimou's masterpiece in the international selection does not mean that a localized concept is deeply rooted in the international film circle. At least, we rely on our own efforts There is too little widespread and universal recognition in the world film circle of Yan Bo Miao. Letting the world understand China is sometimes not just a slogan. First of all, we should know why we want the world to understand China, what we can do to let the world understand China, and the world wants to understand China. what is it?
Thinking of this, I am deeply saddened by the opening of the motherland to the outside world in the past 20 years.
Our film career is not understood by foreign countries, and it is often more closed than imagined. What film culture conveys to the people of the world is the ecological way and life philosophy accumulated by our nation itself, and at a deeper level, it is the Chinese civilization system. The humanistic connotation that collides with the trend of modern civilization. And such a slightly obscure definition can be manifested in the common words and deeds of people's daily life. Yesterday I saw a program made by "Oriental Time and Space" to commemorate the first anniversary of China's entry into customs. The video recorded in the 1980s showed that the eyes of the crowd were very different from today's. Seriously speaking, it was sluggish, without any vitality or vitality. . But I have been thinking about a question for a long time, why are several international award-winning works such as "Red Sorghum" and "High Red Lanterns" so arranged in rural areas, so difficult, can the plots in them represent modern times? All of China? Far from it, there are a lot of urban dramas and fashion dramas on the screen these days, but when they get to the movies, they quickly become heavy, and they can't take a fresh and fashionable step. , "Happy Times", "Life Show" and other representative films are actually based on urban life, and the ideological content is not bad, but when we get outside, even we are a little unconfident, what? reason? Hollywood’s annual Oscar-winning films have very few single themes, and a comparison of the two will immediately lead to a subtle inferiority complex. However, behind the cultural environment, is there any problem with our attitude towards film art itself?
Many people know that when Americans are shooting some great stories, in addition to the family wealth of hundreds of millions of dollars, they often think about the important props and effects in the film, such as the luxury ship in the Titanic, "Jurassic" The furious dinosaurs in "The Park" are so complicated and detailed that the production process is unimaginable by ordinary people. Not only that, the use of an article in the script and the degree to which a gesture is in place in the performance are all things that need to be carefully analyzed and repeated many times during filming. They can spend months making a model puppy and then only appear twice, and as long as they leave a lingering impression on the mind, they are considered successful. Think about whether Chinese filmmakers have had the same experience. If the answer is yes, everyone should applaud enthusiastically, because a hundred carvings are enough to create a sensational effect. Since computer technology has been more used in After the film technique, the designers are even more refined. The hair of the heroine in "Final Fantasy" was written in 80,000 lines of programs. In this regard, the Chinese counterparts are already far behind. Not on the same line, and the lack of effort in technical processing will most lead to shoddy production of the entire article.
4.
Looking at the plot processing, the first thing to declare is that this article is called "Commentary on the Styles of Modern Chinese and Western Films", so the original intention is to have a rough thinking and generalization for both sides from the constant comparison and discussion. It is a shame to say that American films are good and China is bad, because even if the two are both in the film art horizontally, there is something worth discussing and referencing, but vertically the soil and inheritable traditions of the two sides are completely different. Under the planning, the comparison of plot processing can only be the process of showing their charm. We have discovered the hidden mental and cultural factors behind it, and we can understand the internal driving force behind Chinese and Western films.
For example, the handling of "emotion" in a movie, in short, the effect pursued by Chinese movies is often inadvertently revealed naturally, while Americans are known for their momentum. Vivid, the difference is probably related to the essential difference in the national personality between the East and the West. Chinese people are reserved, euphemistic, talk about human feelings, take care of face, and try to figure out the psychology of others. When doing things, they must first look at themselves through the eyes of others. Therefore, the plot of our movie is destined to not be too simple and plain, with great joy and great sorrow. a main line. The clue process of watching "Titanic" is just acquaintance - falling in love - shipwreck - sublimation. The ambush in the first two hours has paved the way for the performance of human nature that shakes people's hearts at the last moment. In this sense, China Films often give people a feeling of fatigue and procrastination when dealing with subject matter, but compared with the purely commercial production style of Hollywood, the primary goal of fifth-generation directors is to outline the reality of life with a line-drawing technique, emphasizing It is the complex mentality and unprovoked behavior of ordinary people's living conditions, and once such localized core ideas are instilled into the details, one can imagine that it is more realistic than the real life situation. Art is not a simple imitation, it stems from the fact that life is higher than life, but after all, we cannot use imagination to build castles in the air. Faced with the unstoppable box office revenue of Hollywood, you can carefully count how many of the so-called blockbusters and big productions are science fiction films, how many are disaster films, how many are war films and how many are funny films, and few are really close to life. Especially the ordinary life of ordinary people, but Paramount, which specializes in film production, awarded Forrest Gump its best picture award for decades, which not only shows that the film from ordinary people The strong vitality also proves that the shaking of the subject far from life is only a short-term effect. Because everyone knows that digging out the deep meaning from the plain is itself a job with unequal returns on investment. Moreover, movies are originally designed to give people a virtual feeling, and all impossible fantasies can be realized in movies. But Chinese movies can't do that, including the themes of TV dramas. So far, the mainstream is still the theme of embodying the warmth and warmth of the people around you and the world. When "Desire" just aired, it's not too much to describe everyone's enthusiasm with empty streets. Years later, another "Passion Burning Years" really made the great river revisit the fireworks changes in the past fifty years, which can become a topic of discussion in the film and television industry. Although TV and movies are still very different in some aspects, and the rules cannot be set casually, this does not hinder the common mentality of the people reflected in them. "With You" brings emotions and eyes to the audience. Tears, everyone can realize the true meaning of life from the personal experience of a child, which just shows that from the screenwriter to the actor to the audience, they are all rooted in the same cultural hot spot, and the emotional gates are the same. "It's not good to say that it is difficult for Americans to understand such a film. The fact is that even if it is placed in Taiwan, the country of origin, it cannot create a mainland-style sensational effect. What is the reason? Isn't the essence of human nature the same? Chinese people can't help crying when they see American things that promote maternal love and love. How can they rashly deny it based on the national characteristics of a country? This is indeed the case, but even if the universal human feelings in the world are revealed by the traditional character of the nation, it also determines the difference in the way of expression. Ge You's cold humor in "The Big Shot" is hard to see him smiling from beginning to end, but it is in the The almost farce-like funeral preparations revealed that the money atmosphere of the commercial society had obliterated Hun Pu's nature. Humor has reached this level, inextricably linked to reality while standing on the sidelines away from reality. This kind of "silent irony" similar to Wang Shuo's novels actually found a like-minded person in Lu Xun a few decades ago. After reading "The True Story of Ah Q" more than a few times, you can understand what is really a small See the big, from the ordinary profound. Regardless of whether the new generation of Chinese films gives people a return to their thinking or a desire for the ideal they once embraced, we still have to return to the original point of view. At least, it finally understands what is going on in people and what people need most. what is. See the big, from the ordinary profound. Regardless of whether the new generation of Chinese films gives people a return to their thinking or a desire for the ideal they once embraced, we still have to return to the original point of view. At least, it finally understands what is going on in people and what people need most. what is. See the big, from the ordinary profound. Regardless of whether the new generation of Chinese films gives people a return to their thinking or a desire for the ideal they once embraced, we still have to return to the original point of view. At least, it finally understands what is going on in people and what people need most. what is.
5.
Movies are part of the mass media. Since they want to be "passed", they must have recipients. When the brand-new mode of dissemination of movies was born, in the face of the colorful world, I am afraid that the producers will not be tempted and lost. If you have a mind, you must first think about what the audience likes to watch, what they want to watch, and adapt to the needs of the market to create extraordinary success. Therefore, when analyzing the style of modern Chinese films, we cannot ignore the important thinking direction of starting with the audience. Which stratum has the largest number of audiences in Chinese society? Occupy the absolute main force? Without pretentiousness, I think it belongs to the group of small citizens in the city. Everyone is at least living without worry. They are transitioning from subsistence and clothing to a well-off life. In terms of entertainment, they are also more than inferior to the superior. In the face of the huge pressure of competition, I still want to think about it. Try to make yourself a little better and more comfortable, but not doing much, which is to find some rare leisure in the dizziness of the day. In recent years, it used to be necessary to queue up to buy tickets to see a movie. The history of owning a theater has come to an end, and the emergence of home players has made the movies that were originally produced in a turbulent place to obtain the same position as TV dramas. Don't you see the appeal of "The Happy Life of the Poor Zhang Damin", which is to come from the common people and then to the common people, to interpret the ups and downs of the little people in society, life still has to look forward, if the pressure of raising a family is too heavy, it is inevitable There will be no hope and dawn of survival. Zhang Yimou and Feng Xiaogang's films always deal with the fate of the characters on a gray background to give people encouragement and strength. This is probably the characteristic of nationalization. Grasp the mentality of ordinary people, film and television Creation will have a vibrant market.
Let’s look at the farmers who account for the vast majority of China’s population. As mentioned earlier, in addition to “Crouching Tiger, Hidden Dragon”, several Chinese films that have won international awards are a series of films such as “Red Sorghum”, which all have a rural flavor. Among them It seems that it is difficult to explain the deep meaning of it. Is it because the deep-rooted China in foreigners' minds is like this? Due to this factor, with the help of the film, which could have fully promoted the national spirit of today, we rejected the style of the fashionable city, and instead made an essay with the loess and the back facing the sky. It is because there are too few materials for development in the city. Can't dig something deep? Perhaps it is also a reason, although it is far-fetched, but in short, Chinese films do not ignore the rural market, but actually record it to the public. It is difficult to tell what kind of mentality it is. Take Zhao Benshan as an example. Half the sky is red, and in everyone's mind is always the image of an old farmer in Northeast China. He is honest and simple and likes to ridicule. When he set foot in the film and television industry, from "The Chief of a Village" to "Happy Times" to "Liu Laogen", he can Saying that he is playing himself, even if Zhao Benshan has little-known things that are not in harmony with the image of farmers, such as playing the piano well, being the chairman of a high-level enterprise, etc., it should be admitted that he is deeply rooted in the countryside. In the vast world, the value of the entire "Liu Lao Gen" is fundamentally like this: why the countryside has not become rich, the key is the lack of market awareness. And the guiding ideology of the economy has risen to the concept, which also makes people find that the peasant class of today has begun to have a civic consciousness. The opening of the concept and the expansion of the field of vision have brought a fresh breath to the countryside. The situation has changed. To grasp the theme of rural themes, shooting skills, and even consider the tastes of farmers, it is necessary to do some serious thinking. In the past, when farmers watched film and television works, the perspective was upward, and the citizens were parallel, as if they were looking at their own experiences, while Audiences at a higher cultural level are somewhat down-to-earth enough to appreciate. The market with the largest market share is the place to focus on doing well. Like a point of view contained in the law of media value, the entire work should use 80% of its power to reach the most critical 20% of the audience, and the remaining 80% is irrelevant. All it takes is 20% of the effort.
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The last thing to add is the differences between Chinese and Western cultural characteristics that confirm the style of modern films, including the differences between mainland films and Korean, Japanese, Hong Kong and Taiwan dramas. Limited by the traditional regional mentality, the mainland film and television culture is very different from the above three. Judging from the ideology we are currently exposed to, the dynamics of Korean and Japanese entertainment, film and television have basically taken shape. This is the result of the post-World War II economic new ideas acting on spiritual ideas in the late 1990s, and American films represented by Hollywood are in full swing, both in terms of frame and in the classical sense of the overall characteristics, which are broad and profound. The main vane of the world's film and television trends. When I write here, I must mention Indian movies. Why, I am afraid not many people know that India is the country with the largest annual production of movies in the world. Although it has an absolute advantage in quantity, it is not shoddy. The award rate and popularity of Indian films in the international film industry are also quite astonishing. In the data analysis of the horizontal comparison, I found that in the world film market, our confidence in the face of competition is very different from that of a country like India. The comprehensive national strength needs to be measured, and everyone can be proud for the time being, but the specific When it comes to a certain type of hard indicators and soft definitions, we often lose the confidence to correctly evaluate ourselves, as if the illusion produced by the translation of Chinese and Western literary masterpieces, we always think that reading foreign works is not as enjoyable as the original version, while the excellent results in Chinese. And it is impossible to convey subtle feelings through translation. In the judgment and comparison of modern Chinese and Western film styles, the visual effects of Western films are obviously the typical environment that creates the emotion. China, on the other hand, likes to work hard on the details, which belong to the same idea. No one can prove that he is absolutely superior to the other. In fact, art itself has no boundaries.
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