In youth-themed movies, the shaping of female images and the construction of discourse have always been important propositions. During adolescence, with physical changes, women's psychology also undergoes strong changes. In contrast to the domestically produced youth films that have been screened in recent years, the discourse construction of female images is relatively simple, mostly the simple binary opposition of "poor girls" and "good girls", and the characters are flat. The director Bai Xue of the film "Over the Spring", with her own keen female perspective, also focuses on the core of adolescent female growth, but she is unconventional and close to life, using realistic brushwork to outline emotions, and won unanimous praise from the audience. These are mainly reflected in the following Two aspects.
First: Exploring the contradiction between friendship and "love". In the overall narration of the film, the friendship between the protagonist Pepe and his girlfriend JO runs through the film. Two of the girls are looking forward to the plan to travel in Japan on the rooftop. The exquisite character details and dialogue design, freely swinging white school uniforms and student skirts, bright sunlight and warm wind, the director let the audience feel the blooming season through the language of the lens Maiden's dream. The two who appeared in the first half of the film were chatting and playing in bed. JO took Pepe and carnival on the cruise ship. The director used hand-held lenses and close-ups of his body, reflecting the girls’ yearning for a better world and their stimulating experience. Just about to move.
In the construction of adolescent women’s discourse, the male role, as another gender subject, plays an important role in women’s self-cognition and self-desire expression. The emotional interaction with the opposite sex is also an important process for women to establish self-discourse. Pepe and JO’s boyfriend, Ah Hao, are constantly approaching because of their status as "water guest". In the scene of "Tie Mobile Phone", the two are in a closed room. Ah Hao tied the phone on Pepe’s body and half opened it. Her clothes and skirt bottoms, red dim lights, cramped environment, intensive sweat, rapid and deliberately amplified breathing, all create an extremely ambiguous space for action, but there is no straightforward emotional expression, let alone holding hands. , Kissing and other behaviors.
is different from the more common "screaming" youth films in China. Through metaphorical connotation, the director Bai Xue cleverly combines the act of "tethering the phone" with the sexual fantasies of adolescence, and the throbbing and behavior of the characters The expression of implicit and forbearance is vividly expressed. In the movie, the self-expression of Pepe’s best friend JO is also relatively complete. Due to the contradictions of her own family and the close relationship between Pepe and Ahao, she is full of suspicion and anger towards the world, which directly leads to the friendship with Pepe.的rupture. Due to multiple factors such as self-cognition and concept shaping, adolescent women's cognition of "friendship" and "love" has been in the exploratory stage, and the outbreak of contradictions is also more concentrated.
Secondly, the conflict and reconciliation of adolescent mother-daughter relationship. In the movie, due to the mother's indifferent attitude towards Pepe, the indifference and neglect of her inner feelings, and various derelictions caused by her lack of emotions, such as playing mahjong all day long, alcoholism, etc., the mother-daughter relationship has been in a state of tension. However, in the key plot, the implicit reconciliation of the mother-daughter relationship is also reflected. This reconciliation is understood by the editor as the irreplaceability of biological blood, that is, the strong maternal roots and the inherent influence of the mother and daughter on the intimate symbiotic relationship. desire. In the
movie, there are five plots that reflect the reconciliation of the mother-daughter relationship: the mother lies in Pepe’s arms and sleeps after being drunk, and Pepe strokes her mother’s hair; the mother wants to move to Spain with Pepe; and it happens with her girlfriend JO During the conflict, after hearing JO's insults to his mother, Peppa fought back; her mother was cheated by a man, and Peppa was her mother, but her mother was afraid that Pepe would be hurt and stopped him; the film ended with her mother to the mountain overlooking Hong Kong.
It can be seen from these plots that in the mother-daughter relationship, Pepe plays the role of "protector" most of the time, and the mother appears to be the one who is more "ignorant" and needs care. In the relationship between Pepe and her mother, it is obvious that the status and role recognition of the two sides are not right. Due to the unconventional nature of her life trajectory, her mother has always been unable to provide Pepe with a healthy family growth space, resulting in the lack of maternal love. The root of the tragedy of female relationships. This kind of tragedy also directly led to Pepe's inferiority complex, thus gaining self-identification by making money as a "water guest".
Conclusion: Whether it is the originality and profoundness of the theme selection, or the exquisite and sophisticated picture shooting, the movie "Passing Spring" can be described as a successful example of the transformation of domestic youth films. It breaks the campus and family space chosen by most of the previous youth films. It no longer deliberately sensationalizes or pretends to be painful, but standsFocusing on the current social issues, paying attention to the inner world of the characters, exploring the symbiotic relationship between the characters and the surrounding environment, he has truly achieved a breakthrough in the context of the current domestic youth films. As a realist theme, based on the principle of the truthfulness of the plot, using sophisticated and appropriate audio-visual language, it brings the audience a memorable youth film.
