This year marks the 70th anniversary of the founding of the People’s Republic of China. The National Day gift film "My Motherland and Me" has not shown a trend of fire. This film is co-directed by Chen Kaige, Zhang Yibai, Guan Hu, Xue Xiaolu, Xu Zheng, Ning Hao and Wen Muye. , Reproduce the 7 classics of New China in an instant, and witness the changes of the big era from the perspective of small people. Speaking of these 7 directors, the name list of each of them is enough to offer a good show. Everyone with very personal characteristics is telling stories with their own narrative methods. Today, Marnie will talk to everyone about this. Among them, Ning Hao has the most prominent personal style and his most "twisted" masterpiece-"No Man's Land".
Ning Hao’s "Western Past" as a young director, Ning Hao’s significance to the Chinese film world is first of all the breakthroughs in genre practice he brought. "When a film reaches a certain degree of success, it becomes a For events in the sociological sense, their quality issues have become secondary." Since the domestic film industry began market-oriented reforms in 2003, genre films have increasingly become a hot topic of discussion and practice in the industry. "Crazy Stone" has ignited a large number of filmmakers' enthusiasm for "low-cost comedy" and black comedy creation with the "myth" of small fights and big fights. Ning Hao is considered to be one of the few in China with strong genre practice and control ability. Young director.
"No Man's Land" is a transformational work of Ning Hao after the "Crazy" series. The film was named a Western film at the beginning of its completion. At that time, "China's First Western Film" ("West Wind") ) In the unborn Chinese film world, this attempt is undoubtedly original and enlightening, which shows Ning Hao's ambition for genre films. Although it has been four years since the film was released, the pattern of the Chinese film industry has also changed, and "No Man's Land"'s use of Western film elements in its image modeling still has broad enlightening significance. The story of the film takes place in the northwestern desert. The huge profits of trading eagles and falcons have spawned a new criminal profession-poachers, and the killer played by Huang Bo is one of the hunters. He was caught by the police on the spot during a hunting, but the policeman who vowed to let him sit in prison died on the spot in a car accident during the escort. This was naturally not an accident, but was caused by the boss of the criminal gang.
When the screen turned to the court, Pan Xiao, played by Xu Zheng, was an unscrupulous lawyer. With his clever tongue, he attributed the case to an accident caused by a police drunk driving...Finally, the boss was acquitted.
But things did not go to completion. Pan Xiao and the boss finally decided to use the boss’s car as a temporary mortgage for expenses due to the inconsistency of the lawyer’s fee settlement method. However, the car driving towards no man’s land will also change Pan Xiao in the future. Whole life. Pan Xiaoxing was excited on the road. There will be a new book launch tomorrow. He seems to see a new life of fame and fortune close in front of him. The story is reversed here. A truck full of dry firewood appears on the road. Pan Shaw, who was unsuccessful in overtaking, also reaped a bite of sputum from the truck.
The principle of no man’s land is unheard. The result of the theory of stopping the car is to be beaten and pee in the car, which is a greater humiliation. Pan Xiao has not only been on the bar with the sturdy truck driver, but also played by Huang Bo. The killer was waiting for him in the front of the road.
On the deserted Gobi Desert, everyone has stripped off their social identities and become a group of barbaric animals. Their only desire is money and survival... The typographical style western film is undoubtedly the richest and lasting Hollywood movie. The type of horse riding in the vast desert is regarded as a classic representative of the "American Dream." In "No Man's Land", the hero's image is subverted, and the meaning of the environmental representation has also changed. However, the central imagery of western movies such as rolling yellow sand, open space and rugged stone mountain is preserved. Director Ning Hao continued this genre with A very tense visual space is a metaphor for social and human practices. At the beginning of the film, with the narration of "This is a story about animals" by the actor, Pan Xiao, a vast Gobi desert appeared on the screen. The super wide-angle lens and the low-camera "animal perspective" were processed by DI toning. The picture presents a slightly grotesque yellowish yellow. There is no cloud in the dark and gloomy sky, and there is no sign of life in the field of vision. The pressure of the environment is ready to come out.
followed by three fixed shots with an average duration of about 3-4 seconds. The rugged rocks in the picture reveal desolation and hostility. The director only used these four short shots to open up six hundred miles for the audience. After the explanation of the space and the clean environment, an eagle falcon flying into the camera opened the whole story.
zIn the whole narrative process, the 1z film continuously inserts large and distant shots to describe and strengthen the space, so that the environment is integrated into the blood of the whole film, and it becomes an indispensable role in the film. The yellow mountains and plains have become the main theme of the film. The graininess of the film and the endless yellow sand form the rough texture of the film. The deserted open space is filled with danger and loneliness, "Night Paris", endless roads, desolate towns and even The endless mountain slopes, the shape of each scene has an obvious sense of ritual and symbol. In these big scenes, the person is reduced to a point on the screen. More often, there is no one in the screen except for the silent Gobi Desert. The wind whistles the yellow sand and screams, drawing the audience into a seemingly unmanned area. The dreams are deserted, and the harsh images reveal a few cruel poetry. The theme of "post-modern" movies, the flow of time and the transformation of space, have infinite potential in movies, and this is an important condition and basic feature of movie narrative. The pictures are fragmented and rely on editing techniques to form a complete spatiotemporal complex It creates a kind of discontinuous continuity. The picture is shown as a whole. The signifier and the signified exist in synchronicity. Spatial words become the main language means." As a comprehensive art of time and space, the space of film is in the narrative process. China has always played a pivotal role.Since the new century, with the deepening of the influence of postmodernism, time in film works has shown varying degrees of spatialization. The transformation of temporal narratives into spatial narratives with audiovisual impact has become the main development trend. Ning Hao adopted this method in the two previous "crazy" movies: Under the complex structure of multi-threaded cross-narrative, the timeline of the film was dismantled to pieces, and space became the main basis for the audience to understand the plot. Although "No Man's Land" has returned to a single-line narrative, the narrative status of the film space is higher than that of previous works. Ning Hao tries to seize all opportunities to create spatial imagery in the chain of linear narrative, by creating a powerful narrative space Tell the story more emotionally. The
movie revolves around two clues: one bright and one dark: the open line is the protagonist Pan Xiao driving on the unmanned highway returning home. He meets all kinds of people on the way, and has experienced a spiritual transformation from social man to animal to hero. , And finally completed the sublimation of the soul in a fire; the dark line is the fate of the two poached national rare birds in the cage-Altai Falcon, these two one million birds symbolize money and desire on all sides The forces continued to circulate and finally regained freedom in the hands of Pan Xiao. Under these two clues, the endless Gobi is the prerequisite for the development of the whole story. The word "no one" points out the fundamental characteristic of this space being forgotten and detached from society, which means that "no man's land is full of bad guys." Provides a logical basis. In the no man’s land, the "human area", the six hundred miles highway, the "Night Paris" gas station and Erdaoliangzi as the key plot points are given a profound meaning by the creator, and they play an important role in the narrative. The
unmanned highway represents the heart of the protagonist Pan Xiao. His series of experiences on the road have enabled him to gradually recognize himself in his experience. The end of the road is his self-salvation and return. "Night Paris" marks the beginning of danger. It is an important step for Pan Shaw to transform from a social man to an "animal". It symbolizes his collapsed psychological defense, showing his desire and loss. Erdaoliangzi, as the place where Pan Xiao finally let Alatai Falcon fly, represents the return of life, and is the holy place for his self-salvation at the last moment of his experience. When Pan Shaw drove a car equipped with Altai Falcon to leave the highway checkpoint, the story actually began. In this spiritual journey of Pan Shaw, the scene constantly went back and forth between roads, deserts and "Night Paris" Conversion.
Pan Xiao has encountered more and more people, and his conflicts with them have become more and more complicated. They burned cars, hit people, were slaughtered, attempted murders, were hitchhiked by prostitutes, and every time the space was changed, the relationship between the characters became more complicated. Contradictory entanglement rose to a level, accidents followed by accidents, and then suddenly and then suddenly, the film ran wildly along the six hundred li highway in the direction of loss of control.
