article | Rust-free bowl hickory
Like most cinema managers, Li Ran did not expect to re-infect his cinema with fireworks.
is a literary film about the simple life of a couple in the northwest countryside. The rhythm is slow and the background is bleak. It is full of the personal style of director Li Ruijun , so it was naturally labeled as "niche" from the beginning.
"No one expected 'Hidden in the Dust' to become popular." Li Ran, a local cinema manager in Nanjing, used "no sense of existence" to describe the film's performance when it was first released.
But in the past two months, around "Into the Dust", he has witnessed an incredible box office "V-shaped valley". Although
has the aura of being a finalist for the Berlin Film Festival, "Hidden in the Dust" has a sluggish box office and a small number of films. Li Ran has long been accustomed to the box office performance of such literary films.
But in mid-August, he suddenly found that the people around him were discussing "Hidden in the Dust", and many people sent him short videos about Hidden in the Dust, asking him if he had a lineup, a story about the popularity of this literary film , in his view, is far more surprising than the initial no one cares.
From the beginning of a small amount of film arrangement and deletion, to witnessing the rising popularity of films on social media, and then to the "full house" after increasing the number of films, "Hidden in the Dust" has created a cinematic miracle belonging to a literary film. , even Li Ruijun himself said: "This is a complete accident."
But outside of the "accident", the emergence of "Hidden in the Dust" is actually a necessity. In the long shot of
, which is composed of loess, wheat ears and four seasons, what people see is not only the fate of the fourth child and Guiying, but also the real bond between themselves and the land. And these personal memories full of memories, tears and 's empathy with are recorded through short videos, which are condensed into an equally deep and heavy collective memory outside of the movie.
Thousands of old irons raised the "Northwest Loess"
The audience described by big data as the "fast food generation" is willing to spend 133 minutes sitting in the theater quietly, watching a movie that has nothing to do with the four seasons and the land, but nothing to do with the grandeur and the climax. s story. Behind the unusual scene of
, was attracted by the "tap water" of the short video, and contributed a force that cannot be ignored.
Wang Lei is the audience who "contributed" a movie ticket this past weekend. Born in the countryside, he was moved by the episodes of the short video platform, so he decided to go to the cinema to recall the land in his memory. What
struck him most were the two lines in the video: "Wheat is the same, it has its destiny", "No roses can be grown in the northwest desert, but my love for you is like wheat flowers printed on the skin." There is also a sentence The widely circulated comment is "The whole film does not talk about bitterness, but it is bitter to the sky; the whole film does not talk about love, but love to the extreme."
An interesting fact is that these "golden sentences" that point out the essence of the film are not the filmmakers. The propaganda, but from the spontaneous creation of all living beings.
Due to the film's poor performance at the box office in the early stage, the official publicity account has already been suspended in mid-July. The biggest gimmick about "Hidden in the Dust" in the early stage was just the actor Haiqing sharing his jokes about rural dry toilets. And many people who were amused by this short video didn't even know the name of the film, but thought it was a sequel to Haiqing's "You Are My God". The twist of fortunes for
happened in August.
It is not difficult to observe short video platforms such as Kuaishou, and it is not difficult to find that most of the comments on "Hidden in the Dust" also came from late August.
Compared with the bleak box office in the early stage, the short video platform carries people's new understanding of "Hidden in the Dust".
takes Kuaishou as an example. Under the collection of short videos hidden in the dust and smoke, whether it is about the personal viewing experience of the hidden dust and smoke and the stamina of being hidden in the dust, or the out-of-the-circle shots in the film are hidden in the dust and wheat flowers... ThisUnder these rich topics, there are almost no official promotional videos carefully edited, all of which are spontaneous "secondary creations" by users.
For example, when talking about the "Northwest Desert" shown in the film, some old irons photographed their real rural life: "Real life seems to be vivid in my mind, like yesterday." In addition to the interpretation of the film,
has The old Tie even directly photographed himself crying after watching the movie... These short videos, which are simple to shoot but contain strong emotions, have become one of the driving forces for "Hidden in the Dust" to come out of the circle.
In addition to the yellow earth described in the film, the short-view screen platform has become the new "yellow earth" of the cyberpunk version, and these co-creations around deconstruction and interpretation have re-given the film's roots in the land. Exuberant vitality.
Art films are no longer "hidden into the dust"
Of course, in the eyes of the outside world, the breaking of "Hidden in the Dust" is a case of literary films that are difficult to replicate.
Because, in the inherent impression of the public, the narrative and expression of literary films are neither commercial nor poetic. Jia Zhangke once used this sentence to express the understanding of literary film directors on "literary":
"is to put Tell the truth of what we have witnessed." The direct and crude truth of
, which is not deliberately "entertaining to death", has also caused literary films to fall into a kind of "high and low" dilemma. If you are familiar with the life experience of Li Ruijun, the director of "Hidden in the Dust", you will know that in the bizarre world of movies, the struggles and hardships of niche literary films.
After graduating from a college in Taiyuan, Li Ruijun almost aimed his camera at his hometown.
From " old donkey head ", "tell them I went as a white crane", "'s home in a place with lush water and grass " to today's "Hidden in the Dust", Zhangye Huaqiangzi Village in Gansu has become Li Ruijun's personal style one of the important symbols.
Putting aside the academic style, returning home is a "last resort". In an interview with a character, Li Ruijun talked about the reason, that is, because literary films do not make money, they must save costs. The loneliness of
of "no one cares about it" limits the audience of literary films to niche groups. Behind the arrogance of "Qu Gao and widowhood" is not that they don't want to break the circle, but that it is difficult to break the circle. The emergence of the
short video platform has broken this deadlock. But there is a paradox behind this that the public cannot understand: there seems to be a clear boundary between the "fast" represented by short videos and the "slow" represented by literary films. Is
the answer really? The emergence of "Hidden in the Dust" has already shown that this seemingly obvious boundary can be broken to some extent.
First of all, as a film concept with Chinese characteristics, literary films often have the director's personal style and focus on marginalized groups, telling personal stories through metaphor-filled lens language and well-designed structures. Different from the narrative form of commercial films, which prioritizes the audience, the expression of literary films is more obscure, which has caused the interpretation dilemma of "high and low". The same is true for
"Hidden in the Dust", Li Ruijun used a lot of long shots to record the three meals a day and four seasons farming of the fourth child and Guiying, an ordinary northwestern couple. Most of the time, the couple was in the sun Plow silently.
When it comes to the process of dissemination, this everyday expression can easily lead to a gap in understanding. Cultural studies scholar Stuart Hall has pointed out that whether a work can achieve the desired effect also depends on the decoding activities of the recipient.
Among them, short video successfully played the role of "interpreter". On Kuaishou and other short video platforms, there are not only personal interpretations of "Hidden Into the Dust", but also film interpretation creators explain the deep meaning of "Hidden Into the Dust" to the audience by narrating the subtitles or shots of the film, and some screenwriters have an opinion on the film. The classic lines in the book are explained in simple termsAnswer, there are even individual creators who tell the story of the fourth child and Gui Ying directly in front of the camera......
These interpretations have not only become an important window for people to understand "Hidden Into the Dust", but also have an impact on literature and art. A response to the film itself. Li Ruijun once said: "The audience discussion is a kind of recognition for me, it brings confidence to my creation, and it also brings confidence to investors."
Secondly, literary and artistic films lack bursts and exciting scenes, and are mostly slow-paced storytelling. Compared with the sensory enjoyment of commercial films, literary films emphasize the integrity of the narrative and emotional resonance. In the past,
used to follow the traditional niche routes of the Film Festival, exhibitions, interviews with main creators, etc. In the past, used the wonderful editing of the short video platform to use a "short, flat and fast" communication method, While magnifying the highlights of the film, it also attracted more people to the theater. The same goes for
Into the Dust.
In this literary film, which contains diverse themes such as land, love, life and death, interpretations of various themes can be seen everywhere on the short video platform.
is like the "wheat print" composed of six grains of wheat, an important symbol of the protagonist's love in the film. On Kuaishou, people use black rice , melon seed shells, star anise and other things around them to imitate the plot in the movie, making this scene in the movie a "famous scene".
In addition to interpretation and dissemination, the emergence of "Hidden in the Dust" is actually a coincidence of the underlying value of a literary film and a short video platform.
A more common view is that short videos, which are regarded as plain and rustic, cannot carry the profound value of literary and artistic films, and many people even think that the public attracted by short video platforms is just caught in a trend-following commonwealth. Love punch card.
But the reality is that, just like the everyday life of ordinary people shown in "Hidden in the Dust", in the large number of Erchuang videos about this film, there are no well-designed shots, no gorgeous language words, and some are just the most Immediate emotions with the most mundane records of life.
browse the short video works about this film on Kuaishou, in addition to the applause of "good shooting", you will find that, all year round, three meals a day, eating eggs, farming can be recorded, these Ordinary and everyday narratives and expressions are worthy of being recorded, worthy of being seen, and even more worthy of tribute.
To a certain extent, the short video platform has become a "container" that carries the emotions of the public and the stories of ordinary people. The value of this kind of empathy for literary films is self-evident.
In an era when everyone said that "people's joys and sorrows are not the same", in the world of Cyber where all solid things vanished, a literary film that records truth and suffering, even with the help of The short video platform bridges the gap between reality. At least in the short film world of more than two hours, people who were once separated have returned to the most real land in front of them.
give every ordinary person a warm shot Around / his ten children / nine of them threw clods at him / only one put / steamed buns in his bowl".
In the world of "Hidden in the Dust", for the fourth and Gui Ying, the only person who puts steamed buns in their bowls is the yellow land in front of them that reincarnates with the four seasons.
And outside the unfamiliar traffic world, the screen seems to be an insurmountable moat, separating the white snow and the people from the next.
commented by industry insiders that "Hidden in the Dust" is like a box of outdated instant noodles that squeezed into the movie shop, which has recently been neglected. In the past, this film has never been the most popular, and it has never been the most talked about.
But now, its out of the circle shows that the realism surrounding the land and life has never been far away from people..
Anthropologist Xiang Biao talked about a concept called "disappearance of the neighborhood", which is used to refer to a common phenomenon in today's society:
We are often immersed in grand and gorgeous narratives, but we ignore real life the individual.
Agricultural civilization roars past in the coercion of industrial civilization, and people who were born in the soil have become invisible in the digital age. Film scholar Dai Jinhua once said: "Everyone seems to no longer need to engage in material production, but we can't see material production and material labor."
This is why, although the media is constantly evolving to allow more distant people Voices are heard, but in the real world, with the disappearance of the land, some concrete and real faces in the vicinity lose their sociality and "receive into the dust".
And a very strong feature of "Hidden in the Dust" is "endowed with humanity", it allows us to see these people who live in the air, these people who may be stoned by children, scorned or scolded by adults, The richest traces of life on them.
The specific faces and the recognizable names form the most microscopic image of this society. These ordinary people who are separated by time and space in the loess of the sky, they also have the desire to be recorded. And letting them show their faces, making them visible, is a true tribute to real life.
In the process, a short video platform like Kuaishou has truly recorded ordinary people's compliments to life. More fourth children and Guiying, although they are in different places, can cross the long distance through the short video platform. time and space, and sense each other's existence.
is like a once withered seed, revived with the help of this tolerant soil, and continues to take root and sprout with the changes of seasons and time.
If we say that "Hidden in the Dust" is a film about peasants, land and love, as part of reality mapping, short video communities like Kuaishou are a work that belongs to all ordinary people, and is staged every day The story of the fourth child and Guiying.
There are always ups and downs in the story on the screen. The projection of "Hidden Into the Dust" is a precious reminder - on the same land, there are such a group of people who love everyday life, respect simplicity and regularity, and cannot let them hide in the dust.
Outside the play, on the short video platform, the movie of life is still in the continuous watch and gaze of people. This may be the more meaningful thing about this film outside the circle.
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