Director Huang Shuqin, as an outstanding female representative of the fourth generation of directors, has a self-consideration about the current situation of society. As a representative film directed by Huang Shuqin, "Human·Ghost·Love" is hailed as China's first so far. This is the only female film. She made her own certain thinking about women's survival in an empowered society, and guided her strong humanistic care.
"Human·Ghost·Love" is a movie with legendary characters. It uses Master Pei Yanling as a prototype to build a blueprint to bring the audience a sense of reality. In the film, the structure of play in play is adopted. In the time dimension, it uses the growth experience of the heroine Qiuyun and art as the narrative chain, which has relatively complete time clues in appearance. At the same time, the documentary style is used to express the experience of Qiu Yun in the process of growing up, but it also has a certain modernist style of image to dig out the psychological changes in the characters.
A vivid character image is a bridge connecting the inner world of the director. The director conveys the emotion he wants in his heart through a certain character image, and expresses the profound themes contained in the film. In the film, the characters of Qiuyun and Zhong Kui were portrayed by the director, which aroused people's resonance, showing the tragic color of women's powerlessness and inability to change their destiny under the background of the great era.
Qiuyun outside the drama, she was an innocent and innocent girl when she was a child, dreaming of her own girly dreams, but in the haystack, she happened to meet her mother cheating with others, a complete heart seemed to appear Rift, she fled quickly, unwilling to accept. But when the girl who was bullied and overwhelmed by her friends and crying on the ground could not resist, her heart had already fluctuated. Qiu Yun, who has become a male character, still has the love of a girl.
can be followed by the second appearance of Haystack, he refused and fled again, he was constantly trapped in the confusion of his own problems, and was still told of the identity of a "female" until he returned to his hometown after he became famous, he couldn't escape after all The tragedy of fate. The image of Zhong Kui in the play has always been Qiuyun’s protection, but in "Zhong Kui’s Marrying Sister", no matter how affectionate the two people, Zhong Kui will eventually bid farewell to Zhong Mei, and turn around and leave the scene alone, not seeing each other again, Zhong Kui also Will not be the shelter of Qiu Yun's life, he still cannot escape from the female role after all, and is doomed to a tragic fate. The
film uses the narrative method of the play-in-the-play structure to tell the story. The play-in-the-play is also called the film-in-the-film, which refers to a literary technique for narrating another story when the story develops. The film uses "Zhong Kui's Marrying Sister" and Qiu Yun's growth experience to cross narrate, reflecting modern women's sense of belonging and hope to be saved. On the one hand, the film narrates the whole process from Qiuyun’s childhood to the success of growing up. On the other hand, it inserts clips of "Zhong Kui’s Marrying Sister" in every key plot point, that is, when Qiuyun’s psychological and emotional changes occur. Each segment is full of emotion and deep meaning, echoing with Qiu Yun in reality, forming a narrative structure of play in play.
When she was a child, Qiu Yun was pushed to the ground by a boy, her desperate look for help was cast to an unknown distance. Then, in Qiu Yun's lens, the drama scene of Zhong Kui appeared for the first time. Zhong Kui drew his sword and breathed fire. Slash the demons in the flames. Here for the first time became Qiu Yun's rescuer and the person who protected her. The second scene that Zhong Kui appeared was when Qiu Yun was pierced in the palm of her hand by a nail in reality, and screamed in despair without tears. Zhong Kui appeared in a bright light. In the close-up shot, Zhong Kui’s eyes were full of tears. Shi Qiuyun became sister Zhong, and Zhong Kui was the brother who took care of her sister carefully and tenderly. Both scenes were protected objects, reflecting Qiuyun's inner desire for male characters and hope to gain a sense of safe belonging. Zhong Kui's clothes and facial makeup are all red, which appear repeatedly throughout the film. The red tone is the feeling of bright and bloody flames, and what Zhong Kui brings is the warmth that drives away the cold, and is a beacon for the lonely and confused Qiuyun. Zhong Kui is an indispensable existence in her life. In fact, it can reflect the incomparable emptiness in her heart from this side, waiting for someone to fill her vacancy, and the character of Zhong Kui is just for self-comfort a method.
When Haystacks appeared for the second time, the subjective lens was constantly shaking, and the blue tone that appeared brought a feeling of gloomy fear, indicating that when Teacher Zhang broke into her world, she was struggling and fearful , She was afraid like her mother, she hated this repeated fate, but in fact, inAfter she fled, she also gave up her feelings, and suffered the lack and regret of female destiny. The ending of "Human·Ghost·Love" did not rebel against victory. It is a non-radical film. It just shows us a story of a tragic fate that cannot be saved and will not be saved. Perhaps for such a female film In other words, the director hopes to arouse the audience's thinking, to break through such shackles from his own strength.
