The reason why "White Snake: Origin" can become a film text with considerable analytical value is that it is not difficult to see from many comments that praise for "White Snake: Origin" often spans the two evaluation systems of "production" and "feelings" : It's visual effects are excellent, and the emotional analysis is moving (this analysis contains emotions within the story and "feelings" outside the story). These two systems are just like the two sides of the film "industry" and "art", which naturally go hand in hand. The health of this infrastructure like the film industry is often more of a concern but at the same time almost everyone agrees that conceptual high character can make up for the lack of form. The production is always visible, and the level of refinement of the picture, the level of narrative, and the self-consistency of logic are all difficult to deceive people, but "feelings" are the best to be used.
Does "White Snake: Origination" really make a profound attempt on the core of concepts? I don't think so.
The core of the narrative of "White Snake: Origin" is love. Among them, the concept of "breaking through the taboos" of human and monster gives this love a truly shocking strength. In mainstream film and television works, it is indeed rare to dare to completely abandon the concept of duality between human and monster. But unfortunately, this seemingly out-of-the-system view of shemales has its own appearance. The basis of the whole film is still the blind but hypocritical praise of the truth, goodness and beauty of "human supremacy".
The film tells the story of human Xu Xuan in the form of white snake memories. The key actions to promote the narrative are all completed by Xu Xuan, who is full of initiative as a human. Even if Xu Xuan gives up his identity as a human and turns into a demon, this change is only verbal. meaning. In fact, the film does not concretize the process of Xu Xuan's transformation from human to demon in any image (or any other way), and does not cause any sense of rupture between the two identities. In the audience's consciousness, Xu Xuan is still a human being, a person with an extra cute dog's tail, and even the dog's tail is not his own - since the film did not give any real heterogeneity to Xu Xuan who became a demon, there is no real heterogeneity. People will think that Xu Xuan is really an outlier, and he is always the representative of "human strength" in the narrative.
The shemale reconciliation in the film is illusory, not only because the difference between the two is weakened in Xu Xuan, who is the basis for breaking the boundaries of the shemale, but also because the film does not establish a demon system that is comparable to the human system . If it was said that the white snake was a character with an action target before, then due to the truth that the white snake was deceived in the end, the actions that took place in her demon identity and in the demon's value system were completely canceled internally, and at the same time the dispelled There is also the system of demons. The snake tribe is not only chaotic and divided, but even itself a scam. A detail worth mentioning is that the most tragic Yongzhou city massacre was carried out by the white snake as a giant python, not the humanoid white snake (or green snake), but any positive emotional communication with humans (including sex) It is done in human form. The whole film has already prepared the presuppositions of differenti The imperial power was weakened in the disputes in the late Tang Dynasty) The emperor's approval, the immortal state teacher with boundless magic power recognized the secular power of "Shadow".
The power of man is the only thing that is affirmed. The secular power of the human society is higher than the heterogeneous value represented by magic and demon power. There is no explanation. This is the premise concept of "White Snake: Origin".
It is also praising the value of people. "Fantasy Forest" compares "tool worship" and "use of wisdom" to reflectively affirm people, and because the protagonist always wants to integrate into a foreign race, it weakens the right Comparison of the status of man and other animals. However, "White Snake: Origin" takes the name of breaking the separation and the reality of separation. If one's only means of accepting another system is to devalue the other and assimilate it, this certainly seems comfortable, but has little guiding value.
In addition to the conceptual core, there are also additional points for formal feelings. "White Snake: Origin" is excellent in that the use of ancient Chinese cultural symbols such as hexagrams and talismans can be effectively integrated into the plot and the inside of the picture. However, the floating state of more transplants exposes the impetuousness of the film's need for audience control. As the most remarkable part of the whole film, the fox demon paragraph is seriously separated from the whole film in all aesthetic styles, so that both the characters and the narrative have caused the effect of primary and secondary out of control. "White Snake: The Origin" has nothing to do with the story of the Chinese White Snake itself, so the imitation of Zhao Yazhi's image at the end of the film is not so much a tribute to the establishment of a weak supporting relationship between the film and the White Snake text. Even if the above two points are flawed, they cannot be said to be ineffective for the film itself. The film's "homage" to Tsui Hark's "Green Snake" is extremely blunt , the sisters bathing together is charming enough, and the green snake coiling around the beam is also full of demonic energy, but unfortunately it has nothing to do with the narrative and aesthetic meaning of the film itself. Also broken in the narrative is the ambiguous portrayal of sisters. In addition to deliberately selling Ji, the lily hint of white snake and green snake is really inexplicable in such a story of pure love between men and women.
The last thing I want to mention is the mess of gender concepts in "White Snake: Origin". As mentioned earlier, the real protagonist of this movie is Xu Xuan. As active as Xu Xuan is, White Snake is as passive as he is, and as firm and fearless as Xu Xuan, White Snake is as confused and conservative. Since in the relationship between Xu Xuan and Bai She, the identities of the two are based on "human and demon" and "male and female" (the former is undoubtedly the most important). In the process of getting along with the humanoid white snake and Xu Xuan, it is not difficult to find that even if the white snake has magic, the two still clearly show the power relationship between "leader" and "teacher", "savior" and "saved" . In this animated film, which is rated as "adult-oriented", the camera's upright objectification of women is even more surprising to the author who lived in 9102. In addition to the sisters bathing together, the naked female body of the white snake in the love section in the basement of the tower is gazed at for a long time. If the "adult orientation" of the film is almost undertaken by the female body alone, it must be a problem . In the author's opinion, the love in the basement paragraph should at least make both Xu Xuan and Bai She take off their clothes, which is more in line with the healthy concept of sex and the actual situation.
Although the "political correctness" that Hollywood has been drained is often very boring or even kidnapped, inland literary and artistic works should not be disconnected from concepts other than technology.
Therefore, as a commercial film worthy of recognition, "White Snake: The Origin" can only be recognized in its value within the scope of the film industry system. From its high-level visual effects and the narrative form analyzed above, it can be seen that it is only a highly integrated benign capital structure (that is, capital source to distribution) and a strong audience awareness in a commercial context. In this evaluation system that eliminates emotional blessings, the film's immaturity and even self-consistency in character building and narrative must be frankly accepted.
In the 1960s, French film scholar Jean Mitry described the state of the French film industry as follows:
"Film production has reached a level of quality that guarantees a certain degree of performance value. Although mediocre films are still everywhere, their mediocrity is often in content rather than form, and very poor films, that is, films made up, have increasingly rare."
Obviously, no one can question it. This sentence also accurately evaluates today's inland Chinese film industry.
About 5 years ago, the voices like "the movie market is prosperous, not the movie" still reminds us with concise sarcasm and disappointment that the annual box office of domestic movies, which is rising year by year, is supported by bad taste and industry chaos. of. The resistance behind this kind of bad-mouthing has almost disappeared today: the drop in the highest box office of a single film shows that the industrialization of Chinese films has finally begun to enter a benign state. The times are gone forever, and every good commercial film must rely on a set of benign mechanisms composed of multiple complex links such as creation, fundraising, production, and publicity.
A large number of qualified but far from excellent film products will be the norm in the market when the film industry is steadily improving. For members of the film industry, this undoubtedly depicts a promising prospect, but on the other hand, it also reminds every member of the film evaluation system to deliberately ignore the production or concept of a certain work because of their feelings and good intentions of encouragement. Defects are no longer appropriate today.
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