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Malnutrition Chinese mainstream films - from Feng Xiaogang's films talk about aesthetic taste_4821

By Willie Gomez,2014-11-24 17:29
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Malnutrition Chinese mainstream films - from Feng Xiaogang's films talk about aesthetic taste_4821

Malnutrition Chinese mainstream films - from Feng Xiaogang's

    films talk about aesthetic taste

     Abstract title Video Perspective

     【】 Feng Xiaogang's films in recent years, the body has been the Chinese film industry and the secular media's hot topic, big star lineup, successful

    commercialization of speculation, witty and humorous style of the Urban Entertainment is the film's success Fung several important elements of . There is no doubt that Feng Xiaogang is China's domestic film market the film the most box-office

    appeal of the brand: In 1997, his first New Year Mainland film "Party B" in box office results so depressed market saw the dawn of motion pictures, film at the box office in Beijing reached 11.8 million yuan, the National box office up to 2400 million; after "not

    see lingers", "endless" to "Big Shot's Funeral", "mobile phone" and then to 2004's "A World Without Thieves," Feng Xiaogang's commercial film unique, the box office all the best, and is climbing, creating a secular myth of Chinese film. Domestic box office

    as a powerful support, Feng film obtained from the audience, the industry, too much media attention and favor, in this sense goes beyond the film itself, the art of charm and value of content. Film art in people's thirst demand, Feng Xiaogang stuck "New Year"

    label commercial films has become popular entertainment in the "Carnival" object.

     First, the spirit of the film Pin Mao Feng

     Entertainment dumpling skins, business dumplings to Compose a humorous way to

    ridicule the city's urban style, which is New Year films Feng Xiaogang Feng secret. Of the business operation is concerned, Feng Xiaogang has almost become a big banner film industry in China, and the downturn in the Chinese film industry, a very long period of time, the poor box office can bring vitality and vigor of the fear that only his films. In this sense, the history of film in China, Feng Xiaogang is prominently position. Therefore, in people's eyes, Feng Xiaogang has become a "model can not be copied,"

    and this success is due to his character, because his life experience, is the sophistication of his life - "deal then the wisdom of non-balance in the upper and lower The military

    strategy to guard against tomorrow slings and arrows of the hard work, to bear

    grievances shallow misunderstanding. "(Note: Feng Xiaogang of" youth I dedicated you, "the Yangtze River Arts Press, 2003 edition, back cover.) in the film-making is not

    Graceful ease the ecological environment of , he plays the edge ball; sudden right in the

    left Ben's survival competition, Fung movies signs have already been hung up, and repeat more and more.

     Let's take a closer look Fung movies the most important factor of success, it is his unique style of entertainment. In 1997 the first director Feng Xiaogang's "Surreal"

"Party B", the feeling of the audience is a久旱逢甘霖, is an unexpected delight to the

    aesthetic, people with a surprise of surprises, and tolerant face of fresh and relaxed state of mind of "Surreal." Since then, the annual New Year's holidays, people Feng

    Xiaogang's "Surreal" With a look forward to. So far, Feng shot a total of eight with "New Year" as the theme of the commercial films, these films reflect the content and reality are essentially linked very closely, concerns are mostly ordinary people who

    experience emotional and at all levels fresh issue, the language style of humor, ridicule free and easy attitude towards life is to meet the aesthetic needs of the audience. "Party B" with a few seemingly absurd surreal story of the completion of real-life people can

    not dream, the people's "dream home", "big-spender Dream", "Star Dream" by Party

    A, Party B the contract the contract easy to achieve, entertainment to defuse people's hearts desire; "not see that lingers on" in the country and across the oceans, Liu Yuan

    on Qing-romantic love, half-fatalistic sense of "not see that lingers on" Let lovers

    finally good dreams; "endless" strange story of architecture, but also a breathtaking interpretation of the feelings of the game ... ... This is one of relaxed and entertaining

    style of Feng Xiaogang's films so that the location of people's minds soaring.

     Entertainment in itself is not wrong for China's film and television arts, can learn the real entertainment is a good thing, "a refusal to enjoy the entertainment, hard-working

    on it a serious art and culture of the people, will make life disharmony. There is no truth prove that the enjoyment of entertainment enjoyment of art is harmful, but a different kind of enjoyment nothing more. "(Note: [English] HA Meynell of" the nature

    of aesthetic value, "Min translation, The Commercial Press in March 2001 edition 39 pages, 27 pages.) selection and entertaining methods of Feng Xiaogang's movie as their own ethos, both in line with their own creative style, also in line with the viewer's

    psychological. In this sense, Feng Xiaogang's film, does have a unique significance of its existence. However, the key is what we need is a kind of entertainment, as the film and arts, we can not just limited to music but do not understand why music, just stay in the sensory Willful, in regard to the satisfaction of the spiritual world is not helpful. "Good art is not entertainment-art manner and degree of expansion of consciousness, but most of the time in most people, and some time, all people, are willing to make their experience, understanding, judgments, and decisions of the habit to be confirmed and satisfied, rather than expand and change, which explains why good art is not always popular. " (Note: [English] HA Meynell of "the nature of aesthetic value," Min

    translation, The Commercial Press in March 2001 edition, p. 39, p. 27.) This is also a number of Feng Xiaogang's popular movie can be the reason, precisely because His films cater to the audience's psychology, completed one of their own "experience,

    understanding, judgments and decisions of the habits" of the proof and confirmation by the majority of people's psychological identity, so people in his film where both found themselves The shadow is also the release of real-life distress and pressure, which

    is its positive significance. However, if a higher level of one sense, but it does not achieve the "expanding people's consciousness," the purpose and did not realize the people's spiritual dimension guidelines. In the "Cell Phone" in which people see a deal on three women Yan Shouyi between the panic and panic, but do not see the ethical and spiritual life of the clear understanding and interpretation; in "A World Without Thieves", the people see the director for our design Hustle Andy Lau and criminal gang leaders Ge wonderful performances, but not the value of meaningful life rich reminder. Although the intention was to give everyone Fengdao something to think about, is no longer a smile settle the matter, but the film conveys the spirit of the pursuit of that there are some signs of deviation, where we see the spirit of the lack of games lost aesthetic . Especially when some people take the movie as a Chinese Feng Xiaogang's movie mainstream films, and hope that some of the more mainstream films, we have to carefully think about their spiritual core of the film, and as the audience favorite director, whether he can lead the people's aesthetic taste? His films whether to assume this responsibility the mainstream movies? This is not an easy face.

     Feng himself once said, "I feel I have a sense of humor, bones, regardless of their own art or view other people's works, including to see is drama, I could learn to see things

that can be evolved into comedy." (Note: Yu Xin, Feng Xiaogang , "and Feng

    Xiaogang's Tan lingers not seen", in "contemporary film" 1999 No. 1, page 46.) Feng Xiaogang's bones to his sense of humor is indeed melting into every detail of the film, giving his work has brought comedy humorous color relatively heavy themes, often

    through humor and irony have been resolved out of the way, and the film presented as a postmodern philosophy of feeling. Humor and slick, however, may be only a step away, grasp, it might be different results, too much evasion and dig into the reality of a

    shelter and escape. Moreover, not everything can be resolved out, and also do not need to resolve out, and we do not when, what things can be processed into comedy, life is not without sorrow and suffering, and all of the most vivid expression of is the most

    weighty. We need to learn to face, we need to put some good things shredded posters, we need to appreciate the quiet life thinking heavy feeling. Aristotle believed that the audience in the tragedy of grief felt by his fear and pity to "clean." If you do not give

    vent, then the river would flood and washed away the dam. If people want to live in reasonable, it would be necessary to enable him fully aware of the emotions that people feel more or less, art is to achieve this proposition, one of the most effective means, "can not be lifted in the arts and enjoy a place of respect for the wisdom of This culture is sick. "(Note: FR and QD Lee Reeves Lee Reeves:" novelist Charles Dickens, "London, 1970, p. 236, quoted from" the nature of aesthetic values "[England] HA Meynell with the first 44-45 pp.) Our film conveys not just one voice, and our spiritual needs and not just this one, if such a pattern is given to us by a film today, main course, it can not but say that this is a kind of regret that the film art. Reposted elsewhere in the paper for free download http://

     2, Lost: The lack of ideas, aesthetic confusion

     Let us look around the entire Chinese film presented by the atmosphere and fashion: a grim reality is that there are a lot of directors or entertainment funny, the comedy stars as the commanding general of the comedy; or extreme pursuit of formal rendering and lay out, luxury Star lineup, Hong Kuo scene design and production seem generous, but in reality is a form of spoil the form of formalism, "carnival," After viewing the exhibition to stay in people's minds the only brilliant colors, the grand scene for the people minds and hearts are not any touch and shocking, and even there is no aesthetic at all. We are now floating the film becomes more and more, and successful business speculation, considerable box-office revenues, however, often film ends, when the

    theater lights light up the moment, stay in the heart is not a satisfying joy and reflection, not a long time to aesthetic nostalgia, after reading, smiled after the heart is a "much better than this" loss of the sense of loss, as if the film again returned to the creator. Only know that laugh do not know why the laugh, this is a very terrible thing.

    Some people say that, or this method should first say the audience back to the cinema, indeed a's to see the drop-down back in this scenario what kind of audience, then is to continue to meet it, or to change the style of play it? Look at a very interesting thing,

    mediocre at the domestic box office of the Golden Rooster Award for best film, "Postmen in the Mountains, that person, that dog", with its warm human concern and profound ideological content, touched the sea side of the Japanese audience heart, and

    created a box office success - 3.6 billion yen (more than 2000 million yuan) at the box

    office, and nobody cares about the domestic situation in stark contrast. Directed by Huo Jianqi told us that the success of its issuance because the Japanese side has done a

    full year of preparation, including market information, publishing fiction, creative staff invited to attend the premiere, and so adopted a method of immersion in the arts theater release, which gradually expanded affected. Japan can appear on such a film

    with no commercial value to such a comprehensive business package, while domestically there is no distribution of such a video to take any Gonglue. It is not that we have no good movies, but our attitude towards the film is our values issues. This

    film is not the audience do not need to, but it does in today's atmosphere of the film, when we are open-minded way to think and cultivate opportunities to give people time to enjoy this film environment is destroyed, the audience's aesthetic taste has not been

    beneficial to physical and mental health guidance. In Causing loss of lives, in the

    entertainment funny, the audience's aesthetic habits have been distorted, as some experts say, is "aesthetic emerged the slide." It seems that if we do not focus on the

    mainstream values of the film, not on the audience's guide, our recession is impossible to rely on film several "large" can be turned around. Of course, we never use this to deny the "large" strategy, its mode of operation of commercial movies are all the

    guidelines with a directional significance, the key is "large" really should be "atmosphere" in what respect, this is to explore focus.

     For a film, if the theme of ideology and aesthetics shallow ambiguous, vulgar decadence, few positive guidance and spiritual demands of the value, no matter how

    sophisticated it has taken the form and craft packing himself, the nature of its work is still not there will be a good character. The use of good form can indeed make sense again to a new aesthetic high, if only because the form of the perfect, but not the spirit of the pursuit of content and form of the lifts will be the one empty soul, that the level of the United States again Where it not? For Chinese film, the most important thing is not lack of market success of the operation strategy, the investment side of generosity, high-tech, big productions, it is not a film we do not have enough imagination and artistic creation, but the film's sincerity and attachment, which in fact is the life the lack of sincerity and dedication. That once nourished the occurrence and development of Chinese film Chaoba spirit and the power of ideas in today's films have been obscured, and we say that the Chinese film in a sense is a bit of malnutrition.

     But this does not mean that we should not entertainment, we need to laugh, but smile to have taste, there must be cultural connotation, rather than what kind of laughter can be, what kind of entertainment are chosen as the aesthetic needs of the public, if we the mainstream cultural values of life is such a fun spirit, that we and the Boltzmann's prediction is not to be far away? "All public discourse is increasingly the way of entertainment, and have become a cultural spirit. Our politics, religion, news, sports, education, and business are willing to become a vassal of entertainment without any complaints, and even quiet, The result is that we become a fun species to death. " (Note: [America] Neil Postman book, Zhang Yan translation of "entertainment to death", Guangxi Normal University Press, May 2004 edition, p. 4.) Notwithstanding the sounds alarmist, but one truth, I really is to thinking and pondering about it, our film in the end what is needed is a kind of spirit?

     3, Regression: the guardian of the human soul

     The maximum of Motion Picture Arts mission is to grasp the aesthetic world, to bear is the guardian of human emotions, the meaning of life care, ultimate concern of human expression. When talking about the movie "roots" of the shooting, Tarkovsky is the

    case about his vision and began: "I am the plot's development, events, and are not interested in the series - I think that more than one of my movies do not need a plot. I have always been interested in a person's inner world; for me, in-depth exploration

    revealed protagonist attitude to life psychological phenomenon, exploring the inner world of the cultural accumulation of literary tradition, than the design of the plot to the Natural ... ... my interest lies in people, because of their own heart a heaven and

    earth; to accurately show this idea, showing the meaning of human life. "(Note: [Su] Andrei Tarkovsky with," Carving time, "Chen Ligui, LI Yong-Quan translation,

    People's Literature Publishing House in August 2003 edition, p. 229.) on the survival of

    common human nature, the meaning of life and spiritual world of performance and care is the writer's real mission. In the movie, the creator of life, not only to express their Thanks for the Memories and social ideals, but also to express the pursuit of the

    human spirit and yearning to explore the meaning of life and ask.

     Some experts have called for, it is now impetuous attitude, lack of ideals, "aesthetic missing." Indeed, in the "entertainment first", "In death" movement under the impact of people's way of thinking has also been accordingly he argued, while China's film is facing a severe test, those who just stop in the pursuit of sensual vivid appearance, remain in the pursuit of entertainment and consumption level, do not have the deep meaning of the works of reason, it is impossible to assume the aesthetic mission. As a representative of popular culture, film art, it does carry a mass entertainment, but this is by no means all its features and the most important function of any art, if only to remain in the sensory brings excitement and pleasure, it is not true art. Tagged each age has led the trend of the era of art, or to lead the trend of the Chinese nation, a major form of aesthetic. This form has been developed, and even reached a peak, necessarily based on a basic condition is that it must absorb that time the highest achievements of Chinese aesthetic thought, the highest level of aesthetic result is the history of philosophy is the aesthetic and scientific thought. We use this standard to measure the film art of today, you can know exactly what it Where is the gap between how the science of our time to absorb the highest achievements of Chinese aesthetic thought it would be a film where a key issue.

     20th century film is to tell the most important language of their own way into the new

    century, this tells a way that is both traditional and spiritual successor to the rhythm of another pulse of the times. In a sense, our films should be our first film, the spirit of the Chinese people should be close to the label film. I remember Gu Hongming, in his book, "Chinese people's spirit," this is the case where the Chinese people talking about life and the spirit of the Chinese people: the Chinese people's entire life is a kind of emotional life - that such feelings are neither derived from the sensory intuition the sense of the kind of emotion, nor is it mentioned by the nervous system from your torrent of passion that sense of emotion, but a stem from the depths of our humanity -

    the soul of passion or love of humanity in that sense on the emotions. To convey this spirit in our film is that for some, but we are also very valued, and this is our film is supposed to convey the mainstream values, it is our national spirit compatible.

     Today, we are in the pursuit of the movie box office revenue, which is right, but it should not be the end. In our way of thinking with what the audience back to the cinema, we should think about how to make them more long-term to stay in the seat, it

    must be returned to their back to them - guarding the human mind and spirit

    consolation, this is the audience most in need, and the most able to resonate, and the most full of vigor and vitality of the meaning of life. Reposted elsewhere in the paper

    for free download http://

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