Jiao Sanye not only retains the brand of the traditional old times, but also gradually bears the impact of new thoughts and foreign cultures, and he has to try to change. Of course, what remains the same is his dedication to Suona and his guardianship of the sacred song "Hundred Birds Chaofeng". The complicated character of Jiao Sanye also clearly demonstrated the contradictions brought about by the rapid development of society through his various ideological struggles.
In martial arts novels and movies, it is often said that apprenticeship is the "master". It can be seen that "Master" is a person who teaches skills. As the saying goes: "One day as a teacher, one as a father for life." It can be seen that in addition to the meaning of imparting skills, the term "master" also has a strong emotional color, and respects "teacher" as "father".
In the movie "Hundred Birds in the Phoenix", San Ye Jiao is like this to You Tianming, also his master and father. The scene of Tianming absorbing water by the water in the film is extremely poetic. Only Tianming seems to be visible in the picture. Sucking water in the river, the director not only explained the relationship between Tianming and Jiao Sanye, but also reflected the passage of time through the reflection in the water. First of all, in terms of position, at the bottom of the screen, Tianming bent over to absorb water by the water, but in the reflection in the water in the upper half of the screen, the figure of Jiao Sanye gradually moved away, accompanied by his language: "Waiting for you Suck the water up and go home again.” Supplemented by a pan up, the real figure of Master Jiao appeared in the picture. This excessively real and natural space from the imagined space outside the painting to the space inside the painting satisfies the audience's expectations; In the process of absorbing water at dawn, I first took the lens upside down and took a close-up of the noon sun, but when the sun went down, the director again used the reflection of the water. On the surface, he was filming the action of absorbing water at dawn, but it was richer. The earth contains the time that Tianming has practiced by the water, and Tianming's efforts and Master's orders are hard to resist. Such implicit and poetic depiction, with the help of You Tianming's practice, successfully created a stern and authoritative teacher image.
But when it rained heavily that day, the whole picture was dark and cold, and the dark green of reeds and weeds on the water’s edge made people feel depressed and desperate. Just as the daylight dawned on the weather and continued to kneel by the water, the camera switched and the master appeared. With the figure of Shi Niang, a 20-second fixed long lens reflects Master Jiao’s love for Tianming. He pulled out the reed stalks from Tianming’s hands and threw them aside, helped Tianming put on his clothes and took off his straw hat and put it on Tianming. On the head, Master and Madam plus Tianming, it looks like a harmonious family of three. Even if the color of the picture is colder, the content of the picture is warm, and the relationship between the characters is more harmonious and warm by using cold to write warm. Therefore, it can be seen from the above that Master Jiao is both a strict master and a loving father. In addition to that, Sanye Jiao is also a guardian of traditional culture.
The most violent contradiction in the whole film is at the wedding of Youjiaban. Suona playing seems to have become a decoration, but it is part of the traditional customs and wedding process. It only needs a form. The villagers are even more curious about the novel Western bands, sexy girls in leopard red skirts singing. The presence of Sanye Jiao gave the people of the Suona class a boost. He led the apprentices to start a confrontation between the traditional band and the Western East team. He was not willing to accept the cold reception of the once respected Suona art. Suona can't match those "vulgar" western bands who gain attention by "coquettish". A mighty and majestic song "Nanshan Pine" with Chinese cultural characteristics emerged, but the noise in the ears of people who watched the performers in front of Cheng J Chuangmi in the area, what is it, is in the light and joyful background of Western bands, You Jia The gangsters headed by Ban and Liu San had a physical conflict. In this scene, the contrast between the sound and the picture and the close-up shot show the chaotic scene where the fighting people will trample and kick the suona, originally with Musical instruments that are rich in historical colors and traditional heaviness are thus broken. When the fight was over, the director continued to show the ending of suona and other instruments with close-up shots, none of which was complete, all in dilapidated condition, mixed with close-ups of Jiao Sanye's face, which can best express the protagonist’s emotions, and the audience can easily Feeling the self-blame, blame and guilt of Jiao Sanye, who looked at the suona like life.
He blames the apprentices he once taught by hand, and the suona class he once led has become like this, because he, the teacher and father, has not fulfilled his due responsibility. Simultaneously. He also blamed his apprentices. The past several teachings were not enough to withstand impulsive anger. Suona only has meaning for the craftsman. Suona bearerWith the faith and perseverance of Suona, at the same time, Suona also has the mission to protect his own suona. But now, everything has disappeared, and he is ashamed and faceless facing the ancestors who have passed down the suona to this day. So he got angry, overturned the table, and sadly picked up the broken pieces of suona, ignoring the cries of the disciples. Stepped firmly to leave the scene of the incident.
At the turn of the old and new trends of thought, traditional craftsmen are also facing a profound collision of ideas. They live in the past and face the future. This radical change makes them the only remaining part of the people who cling to the past, but they have to accept new ideas. With the new culture, this kind of strong ambivalence has made each craftsman rich and fresh. Today, we still need them to stick to the tradition, and we also need them to have an open mind and courage to face new trends.
