"Hero" takes this moment Wuming and Qin Wang's mouth to alternately tell three stories related to the assassination of Qin - Wuming made up the story of the anti-stab Qin first: kill Zhangkong first, then induce Feixue to kill Canjian, and finally in Fei Xue Fangcun kills him when he is in chaos. The King of Qin believed in the second story he had guessed: In order to complete the assassination of Qin, Wuming and Zhangkong colluded to kill him by himself, and then invited one of Can Jian Feixue to sacrifice himself. Died for the assassination of Qin. Finally, Wuming frankly disclosed the true story 3: In order to complete the assassination of Qin, Wuming faked the killing of Changkong through collusion, then joined hands with Feixue to disable the sword, and then faked Feixue in front of the Qin army. The narrative structure of the film is the "segmented storytelling" narrative mode constructed from different perspectives, which has been popular in the world film circle since the 1990s. This breakthrough can be said to cater to the cultural context of both China and the West. and ideology.
For the domestic market (the main eastern market), the movie "Hero" is based on the well-known story of "Jing Ke stabbed Qin". Chinese-speaking audiences can immediately enter the cultural context of the movie without having to read redundant historical materials. The easy-to-understand vernacular monologue used in the film also enables the audience to enter the situation without any sense of isolation. However, it is different from the past history, mythology, and martial arts movies, which praised the spiritual core of the story, which is not afraid of life and death and resists the power. , to provide readers or audiences with pleasure that cannot be obtained in reality. In "Hero", Zhang Yimou changed the narrative strategy, and its theme wandered between business and art, dispelling the rebellious meaning of enlightenment, and reflecting the middle class The ambivalence towards the grand narrative in the current domestic cultural context. It can be said that "Heroes" embodies the basic understanding of power in the current society: worshiping power and dreaming against power coexist, and the film attempts to reconcile this contradiction. The juxtaposition of the two oppositions of consolidating power and challenging it in the story is what makes this film unique.
The film provides two positions for the audience to choose at the same time: the powerful incumbent and the powerless challenger, and tries to balance the relationship between the two in their respective moral orientations through various means of expression. I think this actually reflects the self-contradictory concept of heroes in today's social ideology represented by directors and screenwriters - people will try to dress both as heroes subjectively. It is this seemingly ambiguous attitude that has led to the mutual dissolution of the two in essence, making the two types of characters do not conform to the traditional concept of heroes. However, the image of the movie is touching, and the audience habitually first identifies with the chivalrous characters represented by Wuming, Canjian, Feixue, etc. They are a rewrite of the desperadoes who turned into wealthy and nobles like Jing Ke. They show people in a new identity. They are the synthesis of warriors and heroes. This sense of identity is also the "hero complex" and The embodiment of "Knight Pride".
I personally think that Wuming, after being seen through by King Qin, symbolically stabbed King Qin with the hilt of his sword is the finishing touch of the whole film. This arrangement is highly symbolic: Powerless individuals may not be able to compete with powerful rulers, but it is more important and effective to influence the rulers' ideas than to destroy their bodies. If it is impossible to use violence to seize the ruler's rights, it can only turn to the next best thing. By exerting a greater right to speak, it can convey its own concept of calling for peace. This is the transmission and portrayal of the "moderate" but uncompromising thought in Eastern ideology.
The three narrative paragraphs constructed in different tones form a partial mutual negation relationship, so on the surface it seems to form a narrative "Rashomon" - the narratives of all characters are questioned and unbelievable, thus forming a narrative. structural openness. Under this function, a subtle crack emerges between narrative and ideology: to kill or not to kill, to fit or not, the heroism of groups or individuals, is a subversion of the original setting of the story. But this kind of subversion is recognized by the audience, because the audience has entered the situation and witnessed the whole subversion process. In their opinion, it is not easy for the characters in the story to be "nameless", and it is difficult to struggle and struggle several times. The final "Heroic Martyrdom" is not opposed to the group struggle consciousness in the traditional Chinese value orientation. It is reckless or impulsive and unwise, but forced to achieve his "individual heroism". In the eyes of the audience, although he is a person , but he represents the efforts and struggles of millions of people. Such an ending is nothing more than showing the connotation of "group struggle consciousness" in the form of "individual heroism".
On the other hand, as far as the western market is concerned, the big-name stars in "Heroes" gather with "international faces", the scenes are grand, the pictures are exquisite, and the martial arts design is swaying and freehand, which will fully highlight the traditional Chinese artistic conception of "nationality" and the most popular "people" in the audience market. Combining the violent aesthetics of "action films", from the early planning and preparation, the star system of genre films, to the shooting and production, to the final publicity and distribution, all follow the operation mode of classic Hollywood movies. "Hero" can be said to have been from the beginning Has a good market prospect. In the film, the protagonist Wuming went to assassinate Qin with guns and horses, and fought bravely with the king of Qin and died heroically, which just catered to the worship and respect of "individual heroism" in the Western social value system.
Westerners' thinking about the individual and the collective focuses on viewing the collective from the perspective of the individual. They believe that the collective is composed of individuals, emphasizing the individual's role, ability, struggle, and struggle. Therefore, individual heroism is an important component of western social values. This is most evident in American western movies and crime dramas, such as the classic western movie "Noon", the popular "Spider-Man" and "Superman" series, all of which have distinct personal heroism in the protagonists. The heroic characters in the film have become symbols and symbols. They do not reproduce the true portrayal of history, but create an ideal norm of high morality to reflect the national character and spiritual inclination of Westerners.
Different from the Chinese audience's understanding of the film's ending, Western audiences generally respect the nameless "personal heroism". In their opinion, the nameless is not afraid of authority, and in order to avenge the country's hatred and family hatred, incognito, with the responsibility of assassination, relying on personal ability to fight with the King of Qin. Fighting bravely and constantly resolving the crisis is the confrontation and collision between individual heroism and mainstream ideology. This kind of human power makes it irreplaceable. He is the incarnation of the image of countless powerless people who have the courage to fight, which is in line with the image of "hero" in the traditional concept of Western audiences. Steady on the heels, and harvest a lot.
It should be admitted that the director used a lot of thought in smoothing the gaps and covering up the contradictions, which is an inevitable choice for commercial films. The popularity of a film is likely to satisfy many interests and desires of different audiences, and from a rational analysis, they are likely to come from conflicting ideologies that are difficult to reconcile. The key to winning the audience is not to highlight one ideology and to subdue others, trying to fundamentally solve the contradictions that cannot be solved in reality, but to find a way of reconciliation, so that various interest groups can find the factors that satisfy them in the text.
As some scholars have pointed out: "The story of "Hero" is actually a metaphor of the current situation of "Hero", and it has also become a metaphor of the current world." From the perspective of cultural context and ideology, director Zhang Yimou took advantage of the environment. The interlocking narrative mode cleverly "stitches" the differences in the values of "heroism" between the East and the West, seeks common ground in the presence of differences, guides the audience to see the ending they want, and overcomes different cultural contexts challenges. On the other hand, the successful film industrialization operation mode adopted by "Heroes" also pointed out the direction and path for the long-term development of Chinese films in the international market in the future. It is a milestone on the road to the industrialization of Chinese films, and it has rich implications for the development of Chinese martial arts genre films that combine art and commerce.
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Introduction to Film and Television Literature Final Paper "Using State Apparatus and Ideological State Apparatus The relevant theoretical analysis of a film or film phenomenon", I thank you old Ms. W!
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