Movies with growth motifs bring viewers a resonance of memory and experience. Like "The Girl We Chased Together in Those Years", the tasters and aftertastes of "The Wallflower Boy" are also post-80s. Comparing these two "those flowers" youth genre films, we can see traces of rebellion, restlessness and the times. However, "Those Years" seems to have smeared delicious cream on the memory, taking the soft side light, and paying tribute to today's beautiful love at that time. "The Wallflower Boy" is deeply influenced by childhood memories (trauma), and between morning and evening, it shows the wrong love, the blooming wounded flowers, the catharsis, and the confusion of the first try of the powerful medicine. Lloyd's psychoanalytic theory. The metaphor of "wallflower" corresponds to the "big morning glory" in middle school, although they may have a very beautiful and strong friendship. Why is this? Judging from this film, the big morning glory also has wallflower-like lacrimal glands and deep sensitivity. The intersection of deep still water and turbulent stream water is a sonata of water and milk. This kind of friendship is more lasting than the underground foundation. In that era, in Pittsburgh, Pennsylvania, in a devoutly religious atmosphere, Dayflower's gay lover parted ways after being caught by his father.
In the film, my favorite is the scene where "Hermione" played Shan with open arms through the tunnel. At the end, Charlie said: I feel infinite, the music is David Bowie's Heroes. The original writer and director Stephen Chbosky reproduced this scene completely at the end of the film, and the director's love for it is also evident, which actually continues the spiritual core of Kerouac's "On the road" and the film of the same name , the unruly and freedom of the "Beat Generation" runs through their children.
Every culture and every history has created a group of young people who have a "consensus". In this sense, it makes sense to divide the population by generation. China's post-80s teenagers were almost overshadowed by the college entrance examination in high school, although the new generation of 90s backdoors may be in a state of being hard with both hands. At that time, whether it was a wall flower or a morning glory, it entered the result of "there will be no future" in a state of "talking about it after the college entrance examination". But the experience is very rare. The subtlety of the Orientals and the precepts of Tang monks make the post-80s generation in China seem to have become wallflower teenagers. Of course, the post-80s have also developed a lot of "hidden texts"—the road is based on purpose, with small narratives and unspoken rules, and does not directly resist those "rulers". The teenagers in this film are also tortured by SAT, they are only able to endure the baptism of true love and scum, transvestite and homosexuality, High and dowm, and even life and death earlier. It seems that very ancient times and more post-modern societies will enter the state earlier.
In recent years, there has been no good domestic film that can carry the memories of the post-80s generation in the mainland in the middle school in the 1990s. Is it because of the above-mentioned awareness of "seeing everything from the college entrance examination" that we have almost no other memories? I remember that in the 1990s, there was a book called "The Rainy Season of Flowers", which was read among the classmates for a while and was adapted into a movie, and "Three Doors" was also changed into a TV series, but the effect seemed to be unsatisfactory. Han Han's "Flying Like a Teenager" is better than "Three Doors" from a plot point of view. The content is transformed into various experiences of a confused teenager entering society at the beginning of the year. This is an "alternative growth" after leaving the campus. The genre documentaries in this regard are better than feature films. Zhou Hao's "High School Three" and "College Entrance Examination" filmed around 2005, and Wang Yang's "China Gate" produced in 2011 are all good middle school-themed documentaries, and at the same time confirm the collective Memory is just an assertion that stays on the "test".
Could it be that the post-80s and 90s in mainland China really escaped into nothingness like this? Or is the time interval not long enough, and the fermentation and sedimentation are not strong enough? One generation of directors has the complex of a generation of directors. Jiang Wen's "Sunny Days" is a memory of a teenager during the Cultural Revolution. He will always remember the white and white sunlight through the window of his room in Milan, which stabbed people to open their eyes; "I 11" and "Ten" The Seven-Year-Old Bicycle is Wang Xiaoshuai's narration of supporting the third-tier and wandering Beijing; "Guling Street Teenage Murder" and "Yiyi" contain Yang Dechang's precious and unique worldview. On the back of Ting, helping young people is actually helping history discover another pair of eyes; there are also Hou Hsiao-hsien, Wei Desheng, Zheng Fenfen, Yang Yazhe... Taiwanese youth-themed films are indeed large in quantity and high-quality, and the tradition that began with the new wave in Taiwan has opened up a batch of these films. A masterpiece.
Maybe it's not just the loss of images, but the erasure of memories. People tend to erase unpleasant memories. When generations of teenagers in new China are being mobilized for revolution, mobilized to go to the countryside, and mobilized for college entrance examinations, collective memory is unified, plus the simulation of each family, school. Consistency of discourse, unified replication of childhood experiences, and the annihilation of the diversity of personal histories, which are then forgotten by us as adults. Memories are almost cornered. At that time, the rebellion seemed to have only been transferred from "Xiao Fang" and "A Letter from Home" to "Fate of the Afterlife" and "Whether the Wind or the Rain", at most, "Nowhere to Be Ashamed".
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