Liu Xie's "Wen Xin Diao Long•Shen Si": ... to make the Yuan understand the master, search for the law of sound to determine the ink; the craftsman alone, see the image and transport the catties: this is the first technique to cover the text, the big end of the story.
Since 2010, in the past 10 years, the output of Hong Kong horror movies has only been about 40. Compared with the peak period of Hong Kong horror movies, it is less than half of the year at that time. In addition to the market limitations and the single theme concept, Hong Kong horror movies have come to an end.
In 2001, Hong Kong released a movie called "Aliens 2002" (hereinafter referred to as 2002) . This movie blended the elements of kung fu, comedy and horror films, which seemed to be the same as the kung fu pioneered by Sammo Hung Comedy and horror movies are no different.
However, this movie strives to carry the usual story routine of the original horror film onto a new story concept- sense of order and . From the perspective of Xiao Xi, this story is the most stylized point of this film.
However, this kind of innovation is nothing but the afterglow of Hong Kong horror films. The idea of Hong Kong horror films cannot escape the always moralistic "educational" value , but there are also young directors who are constantly seeking new ideas. They try The old definition of horror films is grafted onto new themes. Although there are some breakthroughs, it can't stop the decline of Hong Kong horror films.
Take "2002" as an example:
"2002" is a horror film that is directed by Ye Weixin and starred by Nicholas Tse and Feng Delun to maintain the order of the ghost world. It tells about the transformation of one person and one ghost partner to two people partnering to catch ghosts and judge ghosts. And the sentence of sentence.
is still obsessed with the love story background of "weird power and chaos"
Hong Kong horror films can be traced back to the 1930s, when Hong Kong had already produced horror films such as "Midnight Song" and "Cold Moon Poetry Soul". Although it has created a precedent for Chinese-language horror movies, until today, the creative materials of horror movies in Hong Kong are still limited to folk tales and legends of ghosts and ghosts under the background of the times. The definition of horror movies in the Hong Kong film and television industry seems to be limited to "scary". And "education" two aspects.
achieves a warning effect through a certain shock effect.
even later grafted these stories onto kung fu movies and comedy films. For example, when Hong Kong kung fu movies prevailed in the 1980s, Sammo Hung wrote, directed and acted "Ghost", which is a fusion of kung fu movies, comedies, and horror movies. Fighting Ghosts, Scary People, etc.
For example, in the late 1980s, Hong Kong Kung Fu comedy horror film joined the Oriental localized zombie film of the "Mr. Zombie" series headed by Lin Zhengying and the "Happy Ghost" series that caters to the aesthetic needs of the public.
They mixed the narrative mode of kung fu comedy, gag humor, and dazzling action design to create the "innovative effect" of Hong Kong horror films, but in essence, they are inseparable from the single love of these films, the fight between good and evil. The idea of the story is that audiences are often prone to aesthetic fatigue, and the vitality of this genre is constantly depleting.
"2002" also followed this point. The story of
"2002" can be roughly divided into two branches, one is the process of catching ghosts and convicting ghosts, and the other is the love story of two people who can come into contact with the ghost world. The most prominent one is love. Line.
also sets up a very chicken soup concept on this line: people’s tears represent persistence, while ghosts’ tears represent salvation and rebirth.
Hong Kong movies probably like to set a "Lone Star" life style for male or female protagonists with special talents. The male protagonist You Bangchao is a character who can kill everyone around him, even his partner, It was because of his headshot that he "to death" realized the combination of one person and one ghost managing the ghost world order. This kind of fate is too long, as if it was not enough, and finally met someone who wanted to love but could not love, and finally staged a show. The rebirth scene of "human and ghost love is not over" is the climax.
But this kind of rebirth is based on love, and it still doesn't break away from the rules of Hong Kong's old horror film on the setting of love. Comedy comes too suddenly and seems to be not real enough.
This is also a common problem in many film and television works now, I am detached from reality, and desperately want to base my works on reality.
Although most horror films have a relatively imaginary story frame, the outdated and single conception and story content cannot meet today's diversified viewing needs.
, for example, in the movie, like all the "human-ghost love" routines, You Bangchao is beaten out by a water ghost (played by Fang Lishen) who is vengeful for love, but when the ghost’s feet are soft, the wind that should have been killed by Youbangchao is The water ghost got up.
During the game between the water ghost and the soul of Yubangchao, the body of Youbangchao lying in the hospital was sentenced to death by the doctor. The female protagonist increased the electric shock to electrocut the soul of Yubangchao out of the power that the water ghosts could not resist. The wind in which the ghosts merged into one body was reborn in a tear of the soul of Youbang Chao.
killed himself, and the suspense of how to rebirth himself and his partner was actually buried when a drop of ghost tears fell, and of course it was Happy ending. Together, the two of them rewrote the partner settings of the department "2002". From one person and one ghost to two people. The story of
forcing the title is deliberate and redundant. It's better to stop and end the movie with the tears of the soul of Youbang Chao. On the contrary, it will be more meaningful.
Exploration of Oppositional Innovation
Around the new century, Hong Kong horror movies have moved towards a trend of "thriller movies" as the mainstream. Although the creators have incorporated more exotic features and suspenseful elements into the movies, they are still unavoidable. In the "people" and "people's spiritual world."
Director Ye Weixin, who has been directing horror movies, seems to see the end of Hong Kong's horror film themes and ideas. began to try to frame the movie's ideas in the social dimension and interpret it from the maintenance and management of "social order".
Especially at the beginning of the movie, you Bangchao played by Nicholas Tse and his ghost partner Sam's trial of Teacher Chen, You Bangchao said: sorry, you can't be reborn.
seems to have a conclusion on the future of this ghost. This scene is not indistinguishable from the trial of ghosts by the Yama king in ancient myths. It is the modernization of this kind of mythology, and it is not. Youbang Chao is more like an execution. Person, not a judge.
"Chief Deng, every year in 2002, the signatures of all police district supervisors are required to continue to do it... Since all police districts have signed, it has its existence value." The inspector is the only person who can come into contact with that world, and he will manage the order of that world. I don’t think there is any problem."
"Every world has its own order, the human world has its own police, the ghost world The concept of "social order" has always been relatively fictitious. The explanation is that it is constructed by social rules, but what are the rules?
What is the difference between the rules of the ghost world and the rules of the human world? Just because Youbangchao is the only person who can come into contact with that world can determine the life and death of that world fool? What is the basis of his trial? Director
chose the concept of "a sense of order" besides innovation, does it have other intentions?
If we look at the history of horror movies in Hong Kong, we may find some answers.
In the late 1990s, Hong Kong horror films had certain breakthroughs in both narrative and storytelling. During the period, represented by Qiu Litao's "Yin and Yang Road", the segmented ghost film was brought to a certain level. , But the creation of these films is more focused on the state and mentality of Hong Kong citizens. That is to say, movies like have begun to put their vision on the socialization and humanization of the grounded atmosphere, which is somewhat back to the original meaning, but at the same time Also conforms to the trend of movie themes.
At that time, domestic and foreign films all put "people-oriented" on the creative agenda.
"2002" uses very old-fashioned story content and stale Kung Fu comedy horror film elements to make the film separate from the "down-to-earth socialization", but the director sets the background to safeguard ghosts In the world order, it is tantamount to directly landing the theme of the movie.
Horror films also need to be connected.
Generally speaking, horror filmsA key issue to be solved is "Why can it scare people" , but Hong Kong horror films have changed with the times, as early as the 80s when Sammo Hung wrote and directed the comedy horror film "Ghost Fighting", Hong Kong horror movies have already Interpreted this key issue with a new definition. Although
said that the following horror movies once again brought out the "scary", but it can not change the dilemma of Hong Kong horror movies.
When Ye Weixin directed "2002", I was afraid that this was also thought of. This was the reason why Hong Kong ghost film was grafted into a genre film with order and "cops and bandits". Looking at the whole film, you can see that the director tried his best to give The film has a new story concept, , and this concept is extremely rare in the previous Hong Kong horror films. It seems to bear a shadow in the glory of Hong Kong horror film’s end, and it is also like trying hard to follow the trend of film genres in the new century. Linkage.
Although this movie is not considered a representative of Hong Kong horror film works, it definitely has a certain meaning of connecting the past and the next from the point of view.
