"The International Film and Television Civilization Mutual Learning" under the global vision of "One Belt and One Road", "Image Review of Chinese Stories" under the background of the 70th anniversary of the founding of New China, the end of 2018 and the beginning of 2019 ushered in the "Guizhou Year" hot spot in Chinese film history "Guizhou Expression of Chinese Films" under... At the 2019 “One Belt One Road” National Film and Television Art Summit Forum held in Guiyang from October 26th to 27th, academics and industry experts from Mongolia, Russia, and South Korea, They shared the film and television theories and practical ideas they brought from the countries along the “Belt and Road”, and conducted civilized mutual learning and friendly exchanges with Chinese scholars.
In the two-day agenda, 57 guests participated in two thematic forums, "Multimedia Inclusion and the Blueprint of the Film and Television Industry", "The Road of Chinese Imaging in a Global Perspective", and the "One Belt One Road" vision. The three sub-forums of "International Film and Television Civilization Mutual Learning" opened forums and shared the film and television theories and practical ideas they brought from countries along the "Belt and Road". Although the topics of the scholars are different, they all take the "One Belt One Road" film and television exchange as the core, forming the artistic and academic philosophy of "the beauty of each, the beauty of the beauty, the common beauty of the world, and the great harmony of the world" advocated by Mr. Fei Xiaotong. consensus.
In addition, experts and scholars also discussed the exchanges and cooperation between film and television resources and cultures of various countries from the perspective of the film industry, and made in-depth thinking about the future development of Chinese film and television and Guizhou film and television, and jointly created countries along the "Belt and Road". The new pattern of film research.
A The "Belt and Road" globalization vision of "Civilization Mutual Learning"
summit forum venue, from time to time sounded Russian, Korean, English, the "Belt and Road" countries along the film and television theory and practice, became a major focus of the guest discussion.
Dmitry Karavaev, former director of the Russian Film Institute, Sergei Kaputerev, a senior researcher at the Moscow State Film Academy, and Pete Soldankinkov, a senior researcher at the St. Petersburg State Film and Television Academy, Discussed the economic resources, social resources and aesthetic resources of the development of contemporary Russian film resources, and took the film master Andrei Tarkovsky as a case to analyze its influence on the contemporary film field. Songho Duranzav, the president of the Mongolian Science and Environmental Film Workers Association, analyzed the possibility of Mongolia’s natural environment in film and television framing and creation; Lee Hyun-suk, the director of the Graduate School of Video Content at Dongseo University in South Korea, spoke about Chinese and Korean film and television culture Looking back and looking forward to the exchange.
In addition, well-known scholars and professors from Peking University, Renmin University of China, Beijing Normal University, Communication University of China, Beijing Film Academy, Shanghai Jiaotong University, Sun Yat-sen University and other well-known domestic universities have worked on Russia, Mongolia, South Korea, India, etc. The film and television art of the countries along the “One Road” discusses the current situation of creation, image language, aesthetic expression, and mutual learning between Chinese and foreign film and television cultures-
Li Zhifang, a researcher at the Film and Television Research Institute of the Chinese Academy of Arts, introduced the "Sino-Russian Film Exchange and Cooperation Reference Prospects"; Professor Wang Yanling of the School of Journalism and Communication of Tianjin Normal University, shared the Sino-Russian film and television cultural exchanges under the "One Belt and One Road" initiative; Shao Qi, associate professor of the Department of Film and Television of Shanghai Jiaotong University, further explained "The status quo and development strategies of Sino-Russian co-productions"
Centering on the "One Belt One Road" initiative, Liu Jun, a researcher at the China Film Education Research Center of Beijing Film Academy, discussed the path of national exploration of national films under the initiative. Zuo Heng, deputy director of the Film Culture Research Office of the China Film Archive, believes that "one belt The “One Road” is a bridge for film culture exchanges among countries along the route; Lin Keqin, a professor at Sichuan International Studies University, believes that “One Belt, One Road” is a “good recipe” for the Cold War mentality... These views can all be discussed by Professor Zhang Jinyao, an art researcher at Communication University of China Found support in "The Guiding Significance of Xi Jinping's Literary and Artistic Thoughts on Film and Television Creation". The
"Summit Forum not only provides opportunities for Chinese and foreign film experts to exchange ideas, but also promotes the integration of domestic Russian, Korean and other "small language" majors with film professionals, scholars and practitioners. It is of great significance. Everyone has reached the requirements for film and television works. Xiangshan, Xiangmei, with humanistic care as the starting point and consensus." Chen Yang, professor and doctoral tutor of Renmin University of China, attended and presided over a theme forum of this event.
Chen Yang said that in the past, domestic academic circles and audiences did not pay enough attention to the "small language" film art of countries along the "Belt and Road". However, in recent years, films from Russia, India, South Korea and other countries have been introduced into domestic theaters and have achieved success. Good reputation and box office,The value of "small language" movies has been re-recognized by everyone. "The film industries of these countries along the Belt and Road must compete with Hollywood films in the market on the one hand, and on the other hand they must integrate with their own national culture in terms of ideology and values. Research on their successful development concepts and paths, It has a good reference for the development of China’s film and television industry." Chen Yang said that in the context of the “Belt and Road” strategy, countries along the route not only need economic exchanges, but also cultural exchanges, in order to promote close cooperation between countries. Film and television is undoubtedly a Good focus, because film and television art, as an aesthetic ideology, has become an important cultural way for the world to understand and grasp the world.
B Looking back at the "cultural self-confidence" in Chinese video stories
This year marks the 70th anniversary of the founding of New China. Looking back at the "Chinese stories" in 70 years of videos is a topic chosen by film researchers unanimously.
Professor Zhang Jinyao, an art researcher at Communication University of China, provided a set of data: Since the founding of New China, the development of China’s film industry has entered a new historical period. Since the founding of New China, the total output of more than 600 films has grown to more than 1,000 each year. A huge industry and market with a gross box office of more than 60 billion yuan in 2018.
Zhang Jinyao discusses from the perspective of Chinese military movies. In the 1950s and 1960s, "Outsmart Huashan", "Dong Cunrui", "Railway Guerrillas", and "Tunnel Warfare", after the millennium, "Blood on the Lonely City", "Blood Battle of Xiangjiang", and then in recent years, "The Founding of the Army" "Take Tiger Mountain", "Wolf Warriors", and "Operation Red Sea", military movies have further explored breakthroughs in traditional themes, and began to look at the objects of concern in military movies from a broader perspective; in terms of characterization, military movies Balance the contradiction between "hero as a man" and "man as a hero", strive to find the harmony and unity of heroes and human nature in movies, and concretize the hero spirit into individual characters in a more ironic way.
"Among many types of movies, military movies always have a place." Zhang Jinyao said that the strong national power has enabled China's military and even China's entire cultural tendency to have a broader vision. Chinese military movies have gradually become clear in genre and continue to merge in genre. During the in-depth creation process, I began to find a creative path suitable for myself. This is the only way for Chinese films to go abroad and make their own voice on the international film stage.
"Since the founding of New China, from the representative film works of various historical periods, we can see the close relationship between Chinese film and the development of the times." Zhou Xing, a second-level professor and doctoral supervisor of the School of Art and Media, Beijing Normal University, believes, Over the past 70 years, Chinese films have formed three stages of creative classics: "'seventeen-year' film classics", "reform and opening new era classics" and "21st century windowing process video classics". Each historical period has produced a perspective era. Representative works of policy changes and artistic concept changes.
“70 years of Chinese screen history is not only an art history, an aesthetic history, but also a unique way of witnessing the history of the Republic and describing the history of the people’s hearts.” said Sumir, a postdoctoral fellow at the School of Art, Peking University, as a contemporary The film art of the "vanguard" of the popular literature and art should answer the questionnaire of the era to truly achieve "strength" on the basis of "stand up" and "get rich." How to move towards "cultural self-improvement" on the basis of cultural awareness and cultural self-confidence? He believes that this requires film workers to face the people's aesthetic demand for high-quality and high-quality films in the process of building a cultural power, which is not the same as the rapid increase in the number of films, the rapid increase in the number of screens and the decline in film quality under the conditions of the market economy in recent years. Balance the contradiction between balance and insufficient development, face the problems of film creation standards and creation ecology, balance the "two wings" of practice and theory, and realize the take-off of Chinese film.
C Highlighting the "Guizhou New Force" of Chinese movies
At the end of 2018 and early 2019, three Guizhou directors, Rao Xiaozhi, Bi Gan, and Lu Qingyi, who weaves Guizhou stories, collectively stood in the spotlight: Rao Xiaozhi's "The Unknown" was completed by super high reputation Counterattack, won nearly 800 million yuan in the box office at a cost of 30 million yuan; Lu Qingyi's documentary "Four Springs" won the best documentary award at the 12th FIRST Youth Film Festival at a cost of 1,500 yuan; directed by Bi Gan, Tang Wei, Huang Jue "The Last Night of the Earth" starring Zhang Aijia, Li Hongqi and Chen Yongzhong was selected as the cover feature of the "Most Anticipated Movie of 2018" published by the French "Cinema Manual" and became the opening film of the Golden Horse Awards that year.
expensiveThe Guizhou story told by filmmakers in Guizhou was a “Guizhou phenomenon” that attracted national attention for a while. The industry commented on it as the “Guizhou Year” in Chinese film history and the “Guizhou New Power” of Chinese film.
Mr. Chen Xuguang, who participated in the summit forum, is a professor at the School of Art of Peking University and the director of Peking University's Film and Television Drama Research Center. He said that Bi Gan, Rao Xiaozhi, and Lu Qingyi, the representatives of the Chinese film "New Forces of Guizhou", actually represent the three powers of Guizhou film: "Roadside Picnic" won the Best New Director Silver at the Locarno International Film Festival. Bi Gan, the winner of the Leopard Award and the latest director of the Taiwan Film Golden Horse Awards, directed "Roadside Picnic" and "The Last Night of the Earth", which pay more attention to the inner and subconscious dream world of people today. The narrative is fragmented and dreamy, showing a certain The style is almost magical realism; Rao Xiaozhi's "The Nameless" and "Hello Madman" are black humorous, exaggerated and misplaced, showing an absurd aesthetic character; Lu Qingyi's "Four Springs", and another Guizhou documentary director Zhou Hao's "Cotton" and "Datong" use images to record family and social changes, conveying care for life and memories of the bottom group.
Chen Xuguang said that in the overlapping of fiction and record, absurdity and reality, Guizhou New Force directors rely on Guizhou's geographical, cultural, and economic background, and continue to produce excellent works in the production of small and medium cost films and art films. "This "Guizhou New Force" of Chinese films has a unique and indispensable reference value for us to investigate and understand the overall situation of contemporary Chinese film art creation and industrial production." He commented.
In fact, the formation of the new atmosphere of Guizhou movies did not take place in a day. From "Looking for a Gun" in 2002, to Wang Xiaoshuai's "Green Red", "Me 11", and "Intruder" with a "growth movie" flavor, to a large number of local minority films such as "Bride of Flowers" and "Ours" "Gasang", "Anayi", "Big Brother of the Dong Nationality", "Yunshan Sun", and some of the scenes in Guizhou, "To Our Dying Youth", "Man Mountain and Sea", and "Roadside Picnic", "The Unknown", and " "The Last Night of the Earth" and "Four Springs", more and more filmmakers are either drawing materials from Guizhou, or choosing the geographic space of the film in Guizhou, pursuing an authentic or spectacular Guizhou.
Among them, the fourth-generation famous director Wu Tianming put on the screen the novella "Hundred Birds in the Phoenix" written by Xiao Jianghong, a young writer from Guizhou origin and winner of the "Lu Xun Literature Award". Xiao Jianghong served as the screenwriter. Phenomenal video. Xiao Jianghong also acted as the screenwriter of the micro-film "Heart Wall" and "26° North Latitude", and directed the film "Flowers and Trees in the Rock". So far, Xiao Jianghong's identity as a composite writer with a writer as the mainstay and a screenwriter as a supplement has become increasingly clear.
also has the same identity, Ouyang Qiansen, a leading figure in the literary world of Guizhou. He has written more than ten novels such as "The Great Turn", "Xiongguan Mandao", "Jedi Live", "Mrs. Shexiang" and short stories. The screenwriter and chief producer of the TV series include "The Great Turn", "Xiongguan Mandao", "Jedi Survival", "Madam Luxury", "Twenty-Four Turns", movies "Days Under the Clouds", "Surviving Days", etc. Thirteen films, four times won the National "Five One Project Award", three national TV "Golden Eagle Awards", three national TV "Flying Awards", the second military "Golden Star Award", won the first State Administration of Radio, Film and Television Script Award and More than 50 provincial and ministerial awards including the first prize of the Provincial Government Art Award. The major revolutionary historical TV series "The Great Turn", which he served as the chief producer and screenwriter, was broadcast on CCTV's prime time and ended perfectly. The Guizhou film and television community has the vision of excellent "writers and screenwriters". At the
summit forum, Xiao Jianghong shared his experience in "Literary Expression of Film and Film Expression of Literature"; Professor An Yan from the School of Humanities of Southwest Jiaotong University analyzed the three dimensions of "transcendent spirit", "local experience" and "world vision" Xiao Yanhua, an associate professor at the School of Literature and Media of Guiyang Normal University, introduced the “Guiyang” city image in Wang Xiaoshuai’s movies...
The “Guizhou New Power” of Chinese Movies and the “Guizhou Expression” of Chinese Stories. Walk out of the mountain consciously and confidently.
Extended reading
Constructing a new pattern of local film and television research and industrial cooperation
This summit forum is organized by Film Critics Magazine, Renmin University of China, School of Arts, Communication University of China, School of Literature and Media, Guizhou Normal University, Guizhou Filmists Association Hosted by Film Critics Magazine, School of Literature and Communication, Guizhou Normal UniversityUndertake. According to reports, since 2018, "Film Criticism" magazine began to host the summit forum, aiming to give full play to the expertise of academic magazines and build a bridge of communication between the film research community and the industry.
"Film Criticism" takes "researching film and television services, and serving film and television" as its purpose. It has always focused on the combination of cutting-edge film and television theories and specific film text research. While striving to explore authors with academic potential and cultivate readers with high academic taste, It is also constantly cultivating high-quality film audience groups who know how to appreciate film art, and has been successfully selected into the "National Chinese Core Journal" because of its remarkable results. This year coincides with the 40th anniversary of the magazine’s founding. At the opening ceremony of the forum, "Film Review" held an appointment ceremony for the editorial board of the expert committee. With the help of film and television artists from countries along the "Belt and Road", jointly release new achievements in the industry and build local film and television A new pattern of research and industrial cooperation. (Zheng Wenfeng)
