On November 26, the "Humanistic Care·Warm Reality-Realistic Film Creation Symposium" was held at the China Film Archive. The
symposium is a combination of keynote speeches and round-table discussions, and is divided into four units: "Emotions of the Times and Elegance", "Left-wing Tradition and Contemporary Innovation", "Knowing People and Commenting on the World and Delivering Warmth", and "Cultivating Audiences and Opening Up the Market". Guests attending the meeting conducted in-depth exchanges and discussions on the mainstream values, aesthetic exploration, innovative development and market prospects of realistic-themed film creation.
A group photo of the participants
Building a bridge between "this is the case" and "this should be the case"
Tsinghua University Professor Yin Hong pointed out that there are two core issues in realism during his speech. "The first is a people-centered creative stance. In a political system where the people are the masters of the country, we need to re-understand what the 'people's stance' is. How to express the changes and changes that have occurred in society is a matter of creative stance, or It’s a matter of creative attitude.”
."The second is the creative method, which covers four issues: typical details, typical environments, typical characters and typical emotions." Yin Hong believes that the so-called typical emotions are also the social emotional value that everyone is always talking about recently. "We see that in recent years, the popularity of None of the works is based on the previous The works reshaped by popular elements are precisely the latest works that capture the typical emotions of society in China. "
" Today, we have more reason to combine a life that is 'the way it is' with a life that is 'should be the way it is'. get up, to behave' it should be like This'. Film creators should sincerely build a bridge, instead of sticking a bright tail and artificially making a bright title, thinking that they can solve all warmth problems, they should help life change through sincere creative logic. It will be better, and the future will be better," Yin Hong said.
Stills from " Article 20"
Wu Guanping, a professor at Beijing Film Academy, took the movie "Article 20" as an example and proposed the two concepts of "implication and subtext" in realist movies. "When we look at the realist movies of the 1930s, their implicit meaning is to arouse the people's emotions of saving the nation. The 'Seventeen Years Movie' after the founding of the People's Republic of China, its implicit meaning is the two themes of revolution and labor. At present, the reality of movies If Marxist creation only considers the implication, it will be dry and rigid. Realism. The reason why many realist films with advanced themes do not produce vivid artistic appeal is that they only pay attention to the implicit meaning. What they want to convey is that the audience has accepted the realism. What are their associations with their daily lives after behaviors and characters?”
."The implication of the movie "Article 20" is the logical relationship between love and law. And its implication is that the audience saw Hao Xiuping (played by Zhao Liying) and her family reunited in the ward at the end of the film. Imagine. If it doesn't happen, where is the warmth? If it happens, how can it be warm? I think this is about reality. A very important aspect of film expression is that it is related to the daily experiences and emotions that each audience may encounter in daily life. In other words, the warmth of reality lies in how many subtexts the work provides. And the audience can gain faith and dignity about their own real life from it," Wu Guanping said.
In their speeches, Li Daoxin, a professor at Peking University, and Li Zhen, a researcher at the China Film Art Research Center, both talked about the evolution of the left-wing film tradition and its impact on current realist film creation.
"Creators should be close to the people. The methodology proposed by left-wing films back then is still applicable today. Why was " Cross Street " successful? There was a saying in the evaluation at the time, 'Those who are deep will get their deepness, and those who are shallow will get their shallowness.' 'Except this The progress of film ideology lies in its lack of preachiness. In fact, during the left-wing movement, many works were not limited to studio construction. The creators went to real-life scenes such as streets, restaurants, and barber shops to use camera language. The level is deeply intertwined with society, showing the texture of the lives of the people at the bottom.Today's film creators and the creators of the left-wing film movement 90 years ago have a common characteristic, which is to care about society and people. It’s not about putting yourself outside the work, but really getting close to people, projecting onto the characters, living in the work, and creating with your heart. "Li Zhen said.
"'s determination to run away " stills
"In Chinese culture, emotion, truth and morality are connected. In Confucian culture, the concept of 'emotion' is the starting point of morality. Usually when we say that a movie is authentic, we are also recognizing that its emotions can move people. "Li Zhen took "Determination to Run away" as an example. He believed that this work allowed the audience to see the life experience of an old mother that is rarely seen in daily life. "If you only saw the old mother's choice to run away at the end, you might It feels abrupt. But after watching the entire film, under the warm gaze of the creator, I can fully understand her choice, and then be able to sympathize with her. "
" Humanity is an ideal, and warmth is a feeling. Why do movies like " Let's Rock the Sun Together ", "Determination to Run Away", " Good Things " and " Hot and Spicy " attract people's attention? A very critical point is that they all capture the combing and description of the complex relationships between body, gender, class and other aspects in this era of technological Internet and artificial intelligence. Today’s audiences, including creators, are no longer satisfied with a single transparent and simplistic narrative and emotional expression. Faced with the complexity, multi-dimensionality, and even hybridity of reality, both creators and critics need to start over. "Li Daoxin said.
"Humor and warmth are necessary in current realistic movies."
In addition to the suggestions of well-known scholars, Shao Yihui, director of the film "Good Stuff", "Wild Child" Wild Child 》Director Yin Ruoxin, " Life Events " director Liu Jiangjiang, "Determination to Run" director Yin Lichuan, "Another Day Full of Hope" director Liu Taifeng, as well as Beijing Wonderful Time Culture Media Co., Ltd. General Manager Zhang Miao, Shanghai Three Dimensional Pictures Co., Ltd. General Manager Ren Ning as Guests attended the meeting and spoke.
"Good Stuff" director Shao Yihui
scored 9.1 on Douban, and the box office exceeded 200 million in less than a week after its release. The movie "Good Stuff" is a rare domestic film that has achieved both word-of-mouth and box office success in recent months. A masterpiece, which also made the film's screenwriter and director Shao Yihui the focus of everyone's attention after arriving at the venue. In her opinion, "humanistic care and warm reality" have summarized the core of the realistic films needed at the moment. " Humanistic care must be people-oriented and truly affirm the value and dignity of each individual. At the same time, every real person is full of flaws, contradictions and even unbearable things, so as creators, we still have to face the real world sincerely. "
Stills of "Good Stuff"
Shao Yihui believes that his two consecutive works " Love Myth " and "Good Stuff" have a certain real quality, but they are still the presentation of the ideal world in his heart. "Whether it is in the movie The characters and relationships between the characters, including the emotions and values conveyed, are actually quite idealistic. I also noticed some comments saying that the characters in the movie are relatively suspended and overhead. I think what they said makes sense. I also have my own confusion, how to create a movie that is very realistic and at the same time very close to the current audience. There seems to be a suspended part, but the audience can feel the real warmth. This is what I have been thinking about. But there is no answer to the question yet. "
wrote her own scripts and acted as the director. She not only maintained a distinct authorship, but also achieved good market response. What is the secret of Shao Yihui's creation? When speaking, she also reviewed her own experiences in the birth of the two films. Worry. ""Myth of Love" was launched through First Venture Capital. Among the films that participated in the venture capital investment at that time, there were very few urban love themes. After I went on stage to introduce it, many producers and producers expressed their gratitude. interest. "
" But after I sent the story outline around, I received mostly negative feedback.Some people also asked me to significantly change the script after expressing their appreciation, but I was definitely not willing to do so. Among them, only Matt Pictures has always stated that it wants to actively cooperate, and has not put forward any opinions on the modification of the drama. Later, when "The Myth of Love" was released, many producers played second-guessing things in front of me. "
"The Myth of Love" stills
"So whether a work can be released in the end really depends on the perseverance of the creator himself and the ability to find like-minded collaborators. After the script of "Good Thing" was completed, I couldn't decide what to name it for a long time. Several investors especially wanted me to name it "Myth of Love 2", which seemed easy. I understand, I think it sells better this way. But I don’t think “The Myth of Love” is an IP, and “Good Things” is also a new story that does not continue the previous character settings and story lines. I don’t want to ruin my reputation. A new story should have a new name. "Shao Yihui said.
In this regard, Zhang Miao said that it is important for the creator and the producer to reach a consensus, "so that we can support each other and understand each other's persistence. It is right to turn each other's insistence and each's insistence into a common insistence. Otherwise, if each insists on his own, there will definitely be problems. It's like a marriage relationship. "After the new millennium, Zhang Miao has been working for Columbia International Pictures/Sony International Pictures in the United States, and served as its senior director in China. In the past ten years, he chose to go to a domestic film company and starred in "Wolf Warrior 2" "Hello, Li Huanying" "I don't
Zhang Miao said in his speech that he has been engaged in the production and promotion of Chinese-language films for the past ten years. "One of my beliefs is the convergence of civilizations. But culture always seeks differentiation. In recent years, we have seen those domestic realist-themed films that have been able to go abroad. They all have one characteristic, which is exactly what all the current excellent realist films have in common. That is, they actually combine Chinese traditional culture or sub-circle culture with At present, there is a collision between China's mainstream values. "
" Chinese films may still have a certain distance compared with Hollywood productions in terms of expression of industrial-level films, but in terms of expression of realistic themes, I think Chinese films are good. I remember that many years ago, Columbia Pictures produced the movie "The Pursuit of Happiness," which is an American realism-themed movie. At that time, we put a lot of effort into promoting it when it was introduced into China. But now, excellent domestic realism-themed films are remarkable in many aspects, greatly surpassing American realism films of the same period. "
" If, I am the person who loves you most in the world " poster
Zhang Miao took this summer's movie "If, I am the person who loves you most in the world" as an example and said, "Director Liu Fendou is looking for By the time I arrived, he had been rejected by many producers. My suggestion to him was whether he could make this story about people with disabilities a bit more like the Golden Age of Hollywood, or be like those produced by Disney 20 years ago. Small to medium budget, with a warm realism film style, try not to have such a strong sense of suffering. In recent years, when the word "reality" is placed in front of the audience, it is likely that the audience will have an innate sense of heaviness. Many realistic stories themselves have a certain sense of heaviness, but we want the audience to use a smart way to balance this heaviness after entering the theater. In the past two years, the strong trend in the film market has been that humor and warmth are necessary in realistic films, and audiences do not like suffering. "
At the end of his speech, Zhang Miao mentioned the selection and control of realistic themes, hoping to continue to receive support from relevant leaders of the Film Bureau. "Give us more, larger, and more reasonable creative space. There are many realism themes and things that concern the common people, but we have not yet had the opportunity to put them on the big screen. As far as creators are concerned, we actually all have an innate sensitivity and awe in our hearts. We will continue to encounter difficulties in the creative process, but we should persevere. "
