Chinese-style discourse, international expression, film feast should be a Chinese feast

although Western culture tries to crowd out Chinese culture, the market finally plays a role, the cultural wall is constantly broken, and Chinese films and Chinese art continue to rise to the top of the world cultural platform. The Chinese feast at the world film feast will come sooner or later

the domestic film "Chinese Salesman," based on a true story, received a lot of praise and applause. "explode audiovisual", ignite heated discussion, "plot masterpiece" and other peak comments. But in my opinion, it is not the realm that Chinese filmmakers yearn for just a little bit of audio-visual excitement.

in a commentary 16 years ago, I lamented Crouching Tiger, Hidden Dragon, which won the 73rd Academy Awards, that there is no reason why Chinese films should not be the main course in the world film feast. Obviously Chinese food is delicious, but how can we make everyone feel really delicious? "Crouching Tiger, Hidden Dragon" did this at that time. This time, although the "Chinese salesman" has not won any big prize, I think it has been done.

< strong > internationalized expression of Chinese discourse < / strong >

the most successful point of Ang Lee's "Crouching Tiger, Hidden Dragon" is the artistic packaging of the world model, which wraps traditional martial arts themes with aesthetic photography, music and scenes, and is good at serving Chinese food on Western food plates. As a result, it is successful and meets the appetite of Westerners and inspires the taste buds of Westerners. If Crouching Tiger, Hidden Dragon focuses on packaging and is basically told in Chinese style, then Chinese Salesman is a revolutionary change in storytelling and an international expression of Chinese discourse.

the film is based on the true story of our multinational communications company striving to open up overseas markets, and tells the story of an ordinary Chinese salesman who went to Africa to win an order, but was unexpectedly disturbed by the local business game and political power. Yan Jian, a rookie salesman played by Li Dongxue, was initially framed by opponents, hunted by spies, abandoned by enterprises, trapped by civil war, and misunderstood by tribes. This kind of beginning has the flavor of Hollywood apocalyptic movies, and it is quite gripping to stay dead and survive. In the course of the development of the story, the film did not entangle the camera on the negotiating table, but repeatedly interspersed in the smoke-filled battlefield, the bombardment of heavy weapons, the hand-to-hand combat of blood, the mysterious tribes, the blind technology, and the plot of survival. This kind of audio-visual stimulation and lens editing are commonly used and effective techniques in Hollywood. Different from the mainstream domestic films in the past, a series of actions of the protagonist are almost personal. "his subjective will is to take the contract, but he is passively involved in a melee." and his actions objectively stopped a war and inadvertently became a hero. " The chief planner of the film told the soldiers their original intention. This is the successful reference of the film to the narrative style of Hollywood films.

like the means of expression of many symphonies, there are always main melodies and secondary melodies that represent the struggle, opposition and entanglement of different forces, stirring up the beauty and charm of music in the development and changes of strength, good and evil, victory and defeat. Beethoven's "fate" is a typical representative. "Chinese Salesman" is very much like a movie version of "Destiny", which runs through the contradictions of two main values and aesthetics, and is launched around the core conflicts such as orders, interests, wealth, achievements and so on.

one of them is Chinese-style aesthetics and values, paying attention to "a gentleman loves money and takes it wisely", taking profit in righteousness, valuing justice over profit, paying attention to both and moderate, harmonious but different, and paying attention to public supremacy and self-interest. This kind of Chinese-style human value baton dominates the master's way of thinking, judgment criteria, and behavior habits.

the other is the absolute selfishness, extreme means, and no bottom line of commercial espionage represented by a western telecommunications company, which is actually an expansion of personal desires. This antagonistic relationship between values and aesthetics constitutes the conflict chain and the main line of development of the film.

at the beginning, Chinese salesmen were completely weak and were tortured, ridiculed and insulted. The master is almost alone in a strange, chaotic, helpless environment. He also has dreams, wants to succeed, and even has the impulses and actions of personal struggle and personal heroes, but once he is faced with the key choices of good and evil, righteousness and benefit, human feelings and unfeeling, public interest and self-interest, peace and war, he almost always resolutely chose the former at a critical moment, standing on the side of truth, goodness and beauty, which is a conditioned reflection of values and aesthetics rooted in his bones. Surprisingly, such a choice seems stupid but has nothing to lose. With the development of the plot, the power of the protagonist gradually changes from weak to strong, from besieged on all sides to turning enemies into friends, from being criticized to taking advantage of righteousness, and from rushing to taking advantage of righteousness. With a kind of Chinese-style determination and wisdom, the protagonist not only saves the enterprises he works for, but also promotes the peace of a country. It has also changed the rules of the game in the global communications industry. This can almost be seen as a true portrayal of the Silk Road spirit of peace and cooperation, openness and inclusiveness, mutual learning and mutual benefit. This is a victory of Chinese aesthetic and value. What is obviously different from the victory of force, intelligence and execution of Hollywood blockbusters is that it is a victory that everyone can do and achieve.

"Chinese salesman" begins a harmonious but different way of thinking, a moderation between extremes and entertainment. As a result, film aesthetics has begun an era of pluralism, colorful and multi-expression. under the same mission of expressing truth, goodness and beauty, it will more respect the diversity of values, cultures and expressions, or that is to say, the spirit of film in the contemporary world. is a system, respective expressions.

< strong > change the rules of the game to start a Chinese movie feast < / strong >

for world films, American aesthetics has been monopolized for many years and is so deep-rooted that it has almost become an" international standard "to judge whether it is good or bad. Although the Chinese aesthetic view is the representative of truth, goodness and beauty regardless of its civilization history, aesthetic taste or value core, it still lingers in the marginal position. Starting with the scientific and technological business war at the forefront of the times, "Chinese Salesman" cuts in with a theme that everyone understands, Liang Lizhu in a new space and common field that has not yet been set up, and changes the rules of the game with his own contribution. The success of this cut is more important and more valuable than the success of Crouching Tiger, Hidden Dragon.

although Western culture tries to crowd out Chinese culture, the market finally plays a role, the cultural wall is constantly broken, and Chinese films and Chinese art continue to rise to the top of the world culture. This is not only due to the artistic genius and tireless efforts of Chinese artists, but also to recognize that the cultural market of 1.3 billion people is an important voice, but also to recognize the positive energy and influence of 5000 years of Chinese civilization. From this point of view, the Chinese dinner at the world film feast will come up sooner or later. Moreover, the future has come, and the Chinese meal is already ready in color, flavor and flavor. It is worth mentioning that "Chinese Salesman" is drawn from Guangdong private enterprises, with Zhao Jianguo, a veteran Guangdong filmmaker, as the trader. It is jointly invested and produced by four Guangdong enterprises, including Shenzhen Yinhe Star Culture Investment Co., Ltd., together with China Film Co., Ltd. No matter in the theme or in the investment, the film production is full of Guangdong power, which once again highlights the "agility" of the Cantonese people. Compared with Guangdong's realistic film and television works such as "salmon stalls" and "outsider girls" at the beginning of reform and opening up, this "Chinese salesman" can be said to be a high-tech enterprise version of "yamahashi stalls". Does this mean that the creative production capacity of Guangdong realistic literary works has been transformed and upgraded? Does it mean that the era of "eating in Guangdong" of the movie Chinese meal has begun? It's worth waiting for!

Edit: mary