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Why are the flowers of national movies so popular?_Guangming.com

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Why are the flowers of national movies so popular?_Guangming.com

  [Sharp Review of Film and Television]

Author: He Mei (doctoral student at Peking University School of Arts, member of China Writers Association)

This year’s national film creation has added excellent works: “Why Are Flowers So Red”, adapted from the advanced deeds of the three generations of the model Razzini Bayka’s family defending the country’s borders, reproduces Razzini’s rescue and rescue with simple and sincere images. The touching deeds of the heroic sacrifice of the children in the ice cave made many viewers feel that “Lazini is the star worthy of our pursuit”; “The Grassland at the End of the Sea” is adapted from the real historical event of “Three Thousand Orphans Entering Inner Mongolia”, telling a The brothers and sisters embarked on a journey of seeking relatives in different time and space, which catalyzed a story of joys and sorrows, and achieved a story of national unity, which gained a good reputation in the film market. Why are the flowers of national movies so popular, presenting a thriving scene? This is mainly due to the renewal of film creation concepts over the years, the emergence of new directors and directors, the continuous improvement of filming technology, and the continuous improvement of the operating mechanism. Sorting out and summarizing successful experiences can help national films to be made often and new, and excellent works come out one after another, so as to better serve the overall situation of building a sense of community of the Chinese nation.

The various ethnic groups in China hug each other tightly like pomegranate seeds, and national films fill the pomegranate fruits with sincere emotions and nourish the pomegranate roots with firm beliefs. From “The Caravan”, “Five Golden Flowers”, “Liu Sanjie” and “Ashima” in the 1950s and 1960s to “The Horse Thief” and “Black Steed” in the 1980s and 1990s, to the new Since the beginning of the century, “Maimati’s 2008”, “Eighteen Cave Village”, and “Why Are Flowers So Red”, national film creations have shown the unique customs and positive spiritual outlook of different ethnic groups in various genres such as song and dance, comedy, and suspense. Expand the pattern of national culture from the perspective of history and culture, and excavate the value of national culture and anthropology of images. Especially in the past ten years, with the rapid development of China‘s film industry, national films have made innovative attempts to keep pace with the times in terms of reflecting real life, describing the development of the times, and breaking through forms of expression.

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This kind of innovation is firstly reflected in the concept of the theme. In the first few decades of the founding of New China, ethnic films focused on the story of ethnic minorities overthrowing class oppression, realizing national liberation, and working together to build a new China under the leadership of the party. Entering the 21st century, ethnic films, on the one hand, continue to express the themes of the past, showing the life changes and spiritual outlook of ethnic minority compatriots under the background of the new era; As a rich mine of material for creation, we continue to explore the connection points between ethnic minorities and the new journey, starting from stories that reflect the entrepreneurship and prosperity, environmental protection, intangible cultural heritage protection and inheritance in ethnic minority areas, and respond to the fiery progress of the times and the grand social development. For example, “Maimati’s 2008” and “Fireworks Grabbing” show the fiery cultural life of the Uyghurs in Xinjiang and the Zhuang people in northern Guangdong; ; “Eighteen Cave Village” and “Beautiful Life” respectively tell the stories of the efforts of the Miao and Zhuang compatriots to change the living environment; the Uyghur mother in “True Love” supports 19 children of 6 ethnic groups. Life; “Singing Wings” tells the story of three young musicians of different nationalities pursuing music dreams, embarking on a journey of collecting music, and going deep into real life. Combining the national narrative with the theme of the era of unity, friendship, mutual help, and dedication to the modernization of the motherland under the leadership of the party, the destiny of the nation and the country resonates at the same frequency, giving national films a broader creative vision and a more positive outlook. Practical significance.

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Innovation is also reflected in artistic expression. Most of the national films that have emerged in recent years set the background in a space with distinctive regional or cultural characteristics, adopting highly recognizable styles such as “grassland narrative”, “plateau narrative”, “desert narrative” and “cottage narrative” to describe the beautiful landscape. Artistic presentation of local conditions and customs, together with audio-visual elements such as amateur performances, dialogues in minority languages, songs and dances, gives ethnic films an authentic and natural aesthetic appeal, making it easier for audiences to gain identity and value recognition in screen narration. For example, “Why Are Flowers So Red” and “Sunshine on Taxkorgan” were all filmed in the Pamirs. The shocking images of the vast snowfields and desolate mountains combined with the unpretentious performances of the actors made the themes of national unity and patriotic border protection more touching. There is also “Eighteen Cave Village” which shows the customs of the Miao people in western Hunan with empty shots such as deep mountains, roosters crowing, and terraced fields; “The First Parting” adopts children’s perspective and poetic realism shooting techniques to show the style of Xinjiang. From the beauty of each to the sharing of beauty, these works with distinctive artistic styles have formed the aesthetic characteristics of different products and the same rhyme while enriching the aesthetic form of Chinese films.

In addition to the efforts of filmmakers, the innovative development of national films also benefits from government support and social attention. In recent years, all walks of life have taken various measures to help the development of ethnic films, such as increasing minority literature and art journals, setting up research institutions, and holding seminars and training courses. The Beijing International Film Festival has set up the Beijing Ethnic Film Exhibition Unit to focus on showing ethnic films. The China Film Association established the National Film Working Committee and held the Golden Rooster and Hundred Flowers Film Festival national film screenings. The National Ethnic Affairs Commission and the Chinese Writers Association launched the Chinese Minority Film Project and completed the film “Home is in a Place Where Water and Grass Are Lush”. All in all, in recent years, the creation of national films has firmly established its historical foundation, dug deep into cultural heritage, and explored the characteristics of the times, highlighting the unique value of artistic thought. The light of historical experience and theory illuminates the exploration of reality. With the in-depth advancement of the high-quality development of Chinese films and the increasing support of the country for national films, the flowers of national films are more beautiful and moving, and they have become the brightest in the garden of Chinese film art. landscape.

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“Guangming Daily” (version 12, November 20, 2022)

责编:丁玉冰 ]

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