[Rassegna nitida di film e televisione]
Author: He Mei (PhD student at Peking University School of Arts, member of China Writers Association)
This year’s domestic film creation added excellent works: “Why are the flowers so red”, adapted from the advanced deeds of the three generations of the family of Razzini model Bayka defending the country’s borders, reproduce Razzini’s rescue and rescue with simple and sincere images. the touching deeds of the heroic sacrifice of children in the ice cave made many viewers feel that “Lazini is the star worthy of our pursuit”; “The Grassland Under the Sea” is adapted from the real historical event of “Three Thousand Orphans Entering Inner Mongolia”, telling a The brothers and sisters embarked on a journey to find relatives in different times and places, which catalyzed a story of joys and sorrows, and made a story of national unity, which gained a good reputation in the film market. Why is the domestic film flowers so popular, presenting a flourishing scene? This is mainly due to the renewal of filmmaking concepts over the years, the emergence of new directors and directors, the continuous improvement of shooting technology, and the continuous improvement of the operation mechanism. Ordering and summarizing successful experiences can help to make thick and new national films, and one after another come out excellent works, so as to better serve the overall situation of building a sense of community of the Chinese nation.
The various ethnic groups in China embrace each other as tightly as pomegranate seeds, and domestic films fill the pomegranate fruit with heartfelt emotions and nourish the pomegranate roots with firm convictions. From “The Caravan”, “Five Golden Flowers”, “Liu Sanjie” and “Ashima” in the 50s and 60s to “The Horse Thief” and “Black Steed” in the 80s and 90s, up to the new Dall turn of the century, “Maimati’s 2008”, “Eighteen Cave Village” and “Why Are Flowers So Red”, the national film creations showcased the unique customs and positive spiritual outlook of different ethnic groups in various genres such as song and dance, comedy and suspense Expand the model of national culture from the point of view of history and culture, and dig up the value of national culture and anthropology of images. Especially in the past decade, with the rapid development of China’s film industry, domestic films have made innovative attempts to keep up with the times in terms of reflecting on real life, describing the development of the times, and breaking down the forms of expression.
This kind of innovation is primarily reflected in the concept of the theme. In the first decades of the founding of New China, ethnic films focused on the story of ethnic minorities overthrowing class oppression, realizing national liberation, and working together to build a new China under the leadership of the party. Entering the 21st century, ethnic films, on the one hand, continue to express the themes of the past, showing the life changes and spiritual perspective of ethnic minority compatriots against the backdrop of the new era; Like a rich mine of material for creation, we continue to explore the connection points between ethnic minorities and the new journey, starting with stories that reflect entrepreneurship and prosperity, environmental protection, intangible cultural heritage protection and heritage in ethnic minority areas, and respond to the fiery progress of the times and great social development. For example, “Maimati’s 2008” and “Fireworks Grabbing” show the fiery cultural life of the Uyghurs in Xinjiang and the Zhuang people in northern Guangdong; “Eighteen Cave Village” and “Beautiful Life” respectively tell the stories of the compatriots Miao and Zhuang’s efforts to change the living environment; Uyghur mother in “True Love” supports 19 children from 6 ethnic groups. life; “Singing Wings” tells the story of three young musicians of different nationalities chasing musical dreams, embarking on a journey of collecting music and delving into real life. Combining the national narrative with the theme of the era of unity, friendship, mutual aid and dedication to the modernization of the motherland under the leadership of the party, the fate of the nation and the country resonates with the same frequency, giving films broader creative vision and a more positive outlook Practical significance.
Innovation is also reflected in artistic expression. Most of the domestic films that have emerged in recent years set the backdrop in a space with distinctive regional or cultural characteristics and adopt highly recognizable styles such as “prairie fiction”, “highland fiction”, “desert fiction” and cottages”. to describe the beautiful landscape. The artistic presentation of local conditions and customs, together with audiovisual elements such as amateur performances, dialogues in minority languages, songs and dances, gives ethnic films an authentic and natural aesthetic appeal, making it easier for the audience to acquire identity and recognition of the value in the storytelling on the screen. For example, “Why Are Flowers So Red” and “Sunshine on Taxkorgan” were all filmed in the Pamirs. The shocking images of the vast snowfields and desolate mountains combined with the actors’ unpretentious performances made the themes of national unity and of the border patriotic protection even more touching. In addition, “Eighteen Cave Village” begins with empty scenes such as deep mountains, crowing roosters, and terraced fields to show the customs of the Miao people in western Hunan; “The First Parting” uses children’s perspectives and poetic realism to show Xinjiang style. From the beauty of each to the sharing of beauty, these works with distinctive artistic styles have formed the aesthetic characteristics of different products and the same rhyme enriching the aesthetic form of Chinese films.
In addition to the efforts of filmmakers, the innovative development of domestic films also benefits from government support and social attention. In recent years, all walks of life have taken various measures to help the development of ethnic films, such as increasing minority literature and art magazines, establishing research institutes, and organizing seminars and trainings . The Beijing International Film Festival established the Beijing Ethnic Film Exhibition Unit to focus on screening ethnic films. The China Film Association established the National Film Working Committee and held the national film screenings of the Golden Rooster and the Hundred Flowers Film Festival. The National Ethnic Affairs Commission and the Chinese Writers Association launched the Chinese Minority Film Project and completed the film “Home is in a Place Where Water and Grass Are Lush”. All in all, in recent years, the creation of domestic films has firmly established its historical foundation, dug deep into the cultural heritage and explored the characteristics of the times, highlighting the unique value of artistic thinking. The light of historical experience and theory illuminates the exploration of reality. With the thorough promotion of the high-quality development of Chinese films, and the country’s growing support for domestic films, the flowers of domestic films are more beautiful and moving, and have become the most brilliant in China’s film landscape garden.
“Guangming Daily” (Version 12, November 20, 2022)
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责编：丁玉冰 ]
