Zhang Yimou is one of the most influential and representative directors in China film industry. 1950165438+1October 14 was born in Xi 'an, Shaanxi. He worked as an educated youth in the countryside for three years and a textile worker for seven years. 1978 entered the photography department of Beijing Film Academy, 1982 was assigned to Guangxi Film Studio after graduation. 1984 became a blockbuster for the first time as a film photographer; 1986 starred in the first film and won three best actors; 1987, his first film "Red Sorghum" won the Golden Bear Award at the first international film festival in China, and he began to realize his trilogy of film creation, from excellent photographer to excellent actor, and finally to excellent director career [2].
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As one of the representatives of the "fifth generation directors", Zhang Yimou's films occupy an important position in the film history of China and enjoy a high reputation internationally. His films combine national culture, social thinking, cultural roots and film innovation. He persistently explores the potential of film language, pursues the strength of composition, the richness of ideas and the fullness of colors, and gives people a strong visual impact through unconventional picture modeling, thus reaching a unique artistic realm.
Reflections on the movie "Alive"
After watching Zhang Yimou's movie Alive, I found that although people are dead, life goes on. There will always be people where you are going. When we get together today, maybe one day the bald man will send the black man away.
Living also tells the story of the vastness and richness of tears. tell about
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No despair; It tells us that people live for living itself, not for anything other than living.
"To Be Alive" also tells how we China people survived these decades. This is a film that reflects the social atmosphere of that year, although it is a novel adaptation. I know that "alive" means more than that. Literature is like this. It tells the author what he realized, but it also tells the author what he didn't realize. This is when the audience stands up and speaks.
According to Buddhist classics, this world is originally a "whirling world" and a "eternal world". Life is a process of constant pain, but we can't give up life easily, and we can only develop happiness in pain. The sum of "bitterness" and "pleasure"
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Is life. Sadness is a year, and happiness is also a year; Pain is a year, so is happiness. One year will not change, so we can only treat each year with a good attitude.
But many people can't bear some difficulties and finally choose a road of no return. I thought everything would be clear if I died. Actually, death can't solve the problem at all. According to Buddhism, cause and effect have reincarnation, and this life is to atone for past lives. If you choose short-sightedness in your life, you will only aggravate your sins. Aside from the Buddhist point of view, life is gone. What do you use to understand life and talk about mental growth?
A so-called black sheep, from small to large, has sent away his parents, son, daughter, wife, son-in-law and grandson, lost 100 mu of fertile land at home and experienced war.
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In the big commune, people are still alive and optimistic, so there is nothing to worry about. On the contrary, people live more easily, calmly and optimistically.
Ordinary people, the life of bad karma is really the most interesting life. As long as you live, you must live every day. Fu Gui, a rich young master of the declining landlord family, learned to face life more tenaciously after going through bankruptcy, the Great Leap Forward, the Cultural Revolution and the departure of his relatives. Finally, the lonely back of Fu Gui's old man leading the cattle away makes people feel the meaning of life and how short life is. We should really think about this life, how to live it, and how to be enough.
In fact, there is no happiness or misfortune in life. Life is just living, living quietly. It's admirable that a person can survive so many misfortunes!
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Perhaps this is a fortune in life, but too many hardships will make people feel that life is very painful! In fact, material shortage is nothing, as long as the family cares about each other and warms each other! In fact, what impressed me the most was the success of that simple and kind child, but unfortunately this simple and kind seed was strangled by the darkness of society! In fact, every child is kind and will become a hooligan as soon as he enters the society! Sometimes, some leaders and successful people should say in front of children: I am not as good as you, you are the real hero!
I couldn't help crying, and I suddenly realized that living is an attitude. This is a strong patience. We should live for the sake of living itself, which is not only respect for life, but also respect for those who leave. They all want the living to live well. As the author himself said:
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"Laugh and cry, die and live." From the moment a person is born, death has been with him, but he still lives indifferently. This is an attitude that cannot be calm. Even if someone dies before us in the process of living, we still have to keep this attitude.
It turns out that living is still a powerful verb! It needs us to overcome ourselves with tenacity!
Live well, there is only one life, but only a few decades, so cherish it!
A comparison between the film "To Be Alive" and literature.
Since the birth of film, literature and film have been inextricably linked, and literature is the hotbed of film birth. In Zhang Yimou's film world, literature is no less than his films.
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Blood of life. In this regard, Zhang Yimou once frankly compared literature to the crutches of movies, and thought that China should thank the writers for their good novels to have a good movie; The prosperity of China films depends on the prosperity of China literature.
Yu Hua's To Be Alive tells the story of a little man, Fu Gui, who struggled to live for decades, and the people around him died one after another. In this novel with less than1.2000 words, Yu Hua tries to reveal to readers the truth that "people live for themselves, not for anything other than living" through one unfortunate death. 1994, the famous director Zhang Yimou adapted Alive into a film of the same name, and reinterpreted Alive through the artistic form of the film.
As we all know, novels use language to describe the plot.
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Create characters to express emotions, while movies impact people's audio-visual senses with intuitive pictures and sound effects, and convey the director's film and television concept. Two different art forms will inevitably lead to different expressions, so there are more or less differences between the novel and the movie "To Be Alive" in the main tone, narrative mode, and the expression of the fate of the characters.
Suffering is the main tone of living. Whether living in novels or living in movies, suffering is the main content that runs through the works.
In the novel, Fu Gui was torn apart by gambling, but his sufferings did not recede because of his repentance-his son was beaten to death, his wife died of illness, his daughter died in childbirth, his son-in-law died of work-related injuries, and even his little grandson died of gluttony for beans. ...
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Many deaths and pains were like nightmares, until Fu Gui faced death, from pain to despair to numbness. "I buried all my family members, and I buried them myself. One day, when my legs stick out, I won't have to worry about anyone. " "When it's my turn to die, just relax and die."
After experiencing all kinds of sufferings in the world, old Fu Gui is beyond suffering. He doesn't live for anyone, because there is no one worth living. He lives only because he thinks living is better than anything else. In Yu Hua's view, the power of "living" is "to endure, to endure the responsibilities entrusted to us by life, to endure the happiness and pain, boredom and mediocrity entrusted to us by reality".
In the movie, although Fu Gui also suffered the death of various relatives, in the end, Fu Gui's family was still in numerous winds.
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After the rain, Fu Gui's wife, son-in-law and grandson can continue to live, so that old Fu Gui can enjoy the family happiness it runs in the family. The director is kind. He can't bear to push the characters into a helpless corner, and he can't bear to let the audience bear the deeper and deeper burden. So he let more people live, so as to alleviate the strong atmosphere of death and despair in the original work and leave the audience with bright colors of hope.
Express the shift of the theme. In the novel, the author focuses on life and explains personal tolerance and attitude towards fate; In the film, the director focuses on the reflection of the times and expounds the influence of history on people's destiny in different times.
In Yu Hua's works, relatives die first, and at the dusk of life, only those who accompany him are as old as him.
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Cattle. A series of deaths and blows were enough to make Fu Gui fall into a painful and desperate situation, but in the sunset, he was so open-minded, frankly telling his bitter life experience, and thankful that he personally buried all his relatives. Life is a process, not a result. Being alive is not only a fact, but also a realm, which is why the value of life is highlighted in death.
Characteristics of Zhang Yimou's films
Zhang Yimou was famous for directing artistic films full of China traditional culture in his early days. His artistic features are realistic details and romantic themes. He is good at film colorimetry and capturing the delicate and touching things in the inner world of characters. In addition, every expression technique is constantly updated. His films have won many awards in the world, which makes China's films, which have been silent for a long time, begin to attract the world's attention.
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Eyes. Early representative films such as Red Sorghum, Chrysanthemum Bean, Hanging the Red Lantern High, The Story of Autumn Chrysanthemum, Living, No Child Left, My Mom and Dad, etc. all have quite high artistic standards. In the three top international film festivals, they have all won the highest film honor awards-the Golden Bear Award and the Silver Bear Award at the Berlin International Film Festival; Two Golden Lion Awards at Venice International Film Festival; Cannes International Film Festival jury award and many other international film awards. At the same time, he won the China Award for Best Director and Best Film Golden Rooster three times at the domestic film honor awards ceremony. Won the Hundred Flowers Award for Best Film and the China Watch Award for Best Director six times. He also leapfrogged the leading films such as Old Well and The Battle between Qin and Terracotta Warriors, and won the Best Actor Award in Tokyo International Film Festival, the Golden Rooster Award in Chinese Film and the Best Actor Award in Hundred Flowers Award. Zhang Yimou is directed by China.
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So far, the most award-winning director at home and abroad. He was rated as one of the top 20 directors in the contemporary world by Entertainment Weekly, one of the world's 10 figures by Time Weekly, and one of the top ten influential figures in the literary and art circles in the past 60 years in New China. He has won the Lifetime Achievement Award of Hawaiian International Film Festival, the Medal of Honor of French Literature and Art, and the "movie master" awarded by 5 1 German Mannheim Film Festival.
With the change of the film era, Zhang Yimou began to be reflected in the films between business and art. Nowadays, Zhang Yimou's commercial films have been widely recognized by the people in China, leaving a deep impression on people, which usually leads to a lot of discussion, and at the same time has achieved high box office results. The representative works of commercial blockbusters include Hero, House of Flying Daggers, Golden Flower in the City, and flowers of war, which set the box office record in China twice and won the annual Chinese box office champion four times. 20
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In 2002, the first commercial blockbuster "Hero" directed by him reached the global box office of $654.38+77 million, which is the highest record holder of the global box office of China films. The influence of his works is recognized as a milestone in the era of blockbuster movies in China, which has opened the curtain of commercial blockbusters and played a very important role in promoting the development of China's film industry.
Zhang Yimou pays more attention to the beauty of the picture and the collocation of colors. Realism is the mainstream of Zhang Yimou's early works. In a fashionable phrase, Zhang Yimou's early films paid more attention to people's livelihood. Are ordinary citizens or rural subjects. Good at using natural things to render the atmosphere (such as the winding country road in the Story of Qiu Ju, which symbolizes Qiu Ju's bumpy road to the top). In Biography of Autumn Chrysanthemum, it is necessary to "make a point" and "hero" is simplified to the fact that because he is from Zhao, the unknown person shoulders the heavy responsibility of "stabbing Qin"
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Ren (the plot lacks the motivation to cut itself off and is obviously lacking in promoting narrative development). In the narrative aspect of the film, some techniques are often used to the extreme, such as "shake, shake, shake to the Waipoqiao", which is contrary to the pre-narrative frequently used in the original work. It is precisely because of the extensive use of ellipsis that the narrative is so crude that it is difficult to tell a complex gangster story smoothly. However, the still shooting and slow camera movement in Hanging the Red Lantern are everywhere, suggesting an old and depressing story. All these can prove the existence of extreme ways of thinking at different levels. Extremist strategy bears the director's keen personal will and has great advantages in forming distinctive creative personality and style, and once the creative personality is formed, it will form creative repetition. This repetition is necessary: emphasizing individuality and highlighting style through repetition. Narrative Strategy, Creative Personality and Aesthetic Style of Zhang Yimou's Films
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It was confirmed by a series of familiar and unfamiliar movies (such as Red Sorghum, Red Lantern Hanging High, Chrysanthemum Bean, etc.). ) and achieved great success. The personality and style with extremes as the core may refuse to accept the existence outside the aesthetic vision because of their own paranoia. Extreme style has attracted much attention and favor because of its unique and distinctive characteristics, but it also brings some inevitable hidden dangers in art because of its paranoia. His innovation and personal understanding of movies are more about pursuing color contrast to pursue the sublimation of picture beauty. For example, the contrast between Jiang Wen's dark skin and yellow straw and sorghum in Red Sorghum, and the contrast between Zhang and Zhang's red wedding dress and golden rice in Hero. Because Zhang Yimou is a photographer, the whole picture is very beautiful. This is also a major feature of his films.
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