, style and culture Ying Changwen sharply criticized the Chinese blockbuster with a history of nearly ten years. In the detailed analysis and comparison with the American blockbuster, he pointed out that the Chinese blockbuster is not lacking in technology, but the fatal flaw is the lack of soul, and analyzes it in detail. There are three aspects of lack of love, lack of style and lack of culture. Today, I will summarize it below to help you think deeply and share it with more friends.
Lack of Love
In domestic blockbusters, both positive and negative characters show a suffocating cold-blooded personality. The directors not only have to show extreme cold-bloodedness, but also turn this cold-blooded "creativity" into the ubiquitous "human viciousness". Not only is the film full of heinous violence and gore, but these scenes are highly aestheticized and stunt-shown because of the director's extreme cold-bloodedness. Because of the lack of love, the directors can only show the movie as a human hell, and they can only use flashy and extravagant scenes and extremely dark personalities as gimmicks to attract audiences.
In "The Wind", the underground resistance in the Anti-Japanese War was interpreted as a heinous criminal law league. The silver needle, a traditional Chinese medicine instrument, was designed by the director with "unique creativity" as a "soul prop" that runs through the whole film. And proudly displayed the horror, viciousness and obsceneness that this "creation" brought to the audience on the naked flesh of the tortured. On the one hand, directors are challenging their own imagination, and on the other hand, they are also challenging the audience's human bottom line and physiological endurance.
The lack
of style directors always look down at the world and capture the scenery. The preference to use overhead lenses to show the scenes of violence and execution, which not only sanctifies the atrocities as absolute things falling from the sky, but also indecently and humiliates the life and personality of the victims.
In "The Sound of Wind", when Captain Wu of the underground party was subjected to a long "needle torture", the overhead shot continued to put Captain Wu's compressed body in the audience's eyes like a deformed dwarf. In the face of the countless silver needles penetrating into the flesh like ghosts, this body is not only humble and incompetent, but also makes people feel chills and disgust from the muscles and bones because of this humble incompetence.
In their films, the characters are hollow and abstract and even vague. The film narrative deviates from the characters: the film plot does not revolve around the activities of the characters; on the contrary, the characters become the decoration of the film plot, and the director's intention is not to shape the characters but to set up a maze-like plot.
In terms of narrative ability, the directors generally showed the "one-string" thinking mode, without the artistic spirit of transcendence, can not do reverse thinking, blindly seek novelty, seek strangeness, seek strangeness, and will not appear the magic and the mundane. See elegance. It is often convoluted and full of loopholes, revealing the extreme weakness of narrative ability.
In "The Wind", there are less than 10 characters, and the director cannot tell the story clearly through the language of the film. He has to borrow Captain Wu's mouth to explain the plot at the end of the film. The director's narrative ability is not as good as that of traditional storytellers.
The common feature of the Oscar-winning films without culture
is that they present the cultural cognition of contemporary society highly artistically, convey a bright dimension of human society to the audience, and lead the audience to look forward to and pursue a better society and life. The charm of American blockbusters is that while "destroying all the good things of human beings", it tempers and enhances the most glorious love and beauty of human nature from the destruction, from which we can deeply feel the director's cherishing of the world's life , love and ideals. Therefore, the blockbuster assumes the function of enhancing the world value of traditional myths in contemporary life.
However, domestic blockbusters lack culture, cannot make in-depth exploration and comprehension of social life, and do not have the power to improve their spirits. The director can only win by playing vicious and weird and trying his best to create scene wonders. Domestic blockbusters can only destroy all good things for others to see, and do games and demonstrations of destruction without taboos, compassion, and awe.
Conclusion
In order to get rid of the bad luck of "popular but not good", Chinese blockbusters must jump out of the misunderstanding of playing with technology, playing dark, and playing gimmicks, and endow the film with profound cultural connotation and great love.
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