Huang Shuqin is one of the representative figures of the fourth generation of directors. He pays attention to civilianization in filming and pays attention to the excavation of female subjects. "Human·Ghost·Love" is one of his typical representative works. The film is based on Pei Yanling, a drama master, for its story creation, and is known as "China's first female film." As a typical female film, it can be said that modern women repeat and reconstruct the story of ancient Mulan.
This film uses the layered structure of the play in the play, tells the series of hardships Qiu Yun's blood spirits have encountered during the learning process, and shows the audience a female image who is unwilling to give in and strives to survive with dignity-autumn Yun. Through the mutual mapping of the two story levels of Zhong Kui’s Marrying a Girl and Qiu Yun’s Learning Art, we can penetrate and metaphor in the intersection and promote the development of the plot. This article will focus on analyzing the theme of the film, which is rich in humanity, the narrative structure of the drama that externalizes the psychology of the characters, and the use of repetitive montage. The theme of
is an excellent work, which embodies the inner humanistic heritage, which inevitably includes the director’s attention and thinking about individual life. If the theme is like a soul-like existence, then the person who carries her is the full-image character in the film. The director’s humanistic care is also based on people. The film reproduces the image of a woman striving for survival and dignity for the audience with rich handwriting. Through her deep psychological portrayal, she shows the struggle of women in the patriarchy and the era. Resist.
Qiuyun, as a modern woman, has taken a different path from that of women in the past. She chose to follow the general meaning of social gender. Men means power and the establishment of order. For women, men mean protection. But it also means destruction and harm. The director tells the story of Qiu Yun and Teacher Zhang, taking Teacher Zhang as a symbol of man, so that he protects Qiu Yun before to hurt afterwards. This change shows the audience of modern women. With the loneliness of spiritual growth, in this article, Mid-Autumn Yun chooses to abandon her female identity and play martial arts, that is, modern women use a de-genderized way to fight against the display of the traditional sole male voice.
The play structure refers to a movie work, and other comedy stories triggered by the movie story, forming a layered relationship of inclusion and inclusion. Generally, there are two levels of story mapping, which form a penetration and crossover. Metaphors can also push each other's storyline forward. In this film, the story of "Zhong Kui's Married Girl" and Qiu Yun's growth complement each other and cross, thus externalizing the psychology of the characters.
"Human·Ghost·Love" takes the structure of the play in the play, and in the dimension of time, it uses the growth experience of the protagonist and the art as the narrative chain, and has relatively complete temporal and spatial clues in appearance. "Zhong Kui's Marrying Girl" is the main form of expression in the movie, and on the surface it only tells the story of the majestic and mighty Zhong Kui marrying his sister to a good friend. In essence, it belongs to a spiritual utopia. She suffered a heavy blow to her from the society, which made her long to break away from the shackles of female identity.
and Zhong Kui is her best protective shell, so that she has a spiritual home, does not need to follow the only male survival law, therefore, in Qiuyun's subconscious, Zhong Kui is not simply a character image , But the key to help her unlock the heavy shackles of society.
The mirror itself is a daily necessities of our lives, but it has a deeper meaning, that is, it symbolizes a situation of self-examination. When everyone has been staring at themselves in the mirror, they will always look up. To examine oneself, even self-doubt. In this film, the director uses a lot of close-up shots to vividly capture Qiu Yun's expression in the mirror and Qiu Yun in the mirror. It seems to be the same person, and it seems that they are not the same person, so the mirror is not only a symbol of Qiu Yun as a drama artist, but also the individual's confusion about self-identity.
Life is like a play, and play is like life. The happy story of this film asks Qiuyun to weave a beautiful dream, so that she can get rid of the heavy female identity and sway her passion in the play, but the dream is fragile, all The beauty is just a flash in the pan, the mirror flower will die forever, it is just a dream after all, and the identity imposed on Qiu Yun is ultimately hard to escape.
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