Some netizens asked on Zhihu why my father, who has lived at the bottom for decades, hates Jia Zhangke and other film and television works that express domestic suffering?
I want to combine it with my own Reacting to the stories of fathers born in the 50s, 60s and 70s, I gave the following reply:
The departure and return of hometown, the nourishment and origin of creation, these topics stir up our thoughts. When do we grow into people we don’t know before we know it?
Jia Zhangke's " Old Friends in Mountains and Rivers ", " Children of Rivers and Lakes ", " Good People in Three Gorges " and " Xiaowu " bring us the departure of our hometown. Reform and opening up , society has undergone tremendous changes. The director hopes to use the camera to record human nature under the changes.
From the documentary, we saw the prosperity and decline of in the northeastern region after the reform and opening up , a generation of confused people who went south to seek life, the white mountains and black soil in the distance, the popular culture of Hong Kong, Macao and Taiwan right before our eyes, the combination of Northeastern pride and the excitement of money, and the ups and downs of the people in the world.
Not only the Northeast, but also Hubei, Hunan, Anhui, Henan and the northwest region, which have been poor for eight lifetimes, are seeing a steady stream of people pouring into the South. Southerners have become the new rich of the era. Owning land means owning capital.
Our fathers relied on their own ability to travel north to Beijing and south to Guangzhou and Shenzhen. They took root and experienced the worst growth process of human nature. It was a society in the infancy of the rule of law in China.
Jia Zhangke grew up with the concept of recording his distant hometown and exploring the origin of creation. He created pseudo-documentary without interfering with the characters' objective expression of themselves. Restricted by law and morality, the creation can only be taken out of context to satisfy positive energy propaganda. If "Old Friends in Mountains and Rivers", "Children of Rivers and Lakes", "The Good Man of Three Gorges" and "Xiao Wu" are remade, will we see stories that subvert our three views?
The history of Chinese civilization has no epochs. No matter how the times change, the standards of public order and good customs are followed by the mainstream culture of society. Chinese filmmakers can record the departure and return of their hometown, and can fully adjust the creative nutrients and origins. However, all of this must still comply with Chinese standards of ethics.
Jia Zhangke interviewed representatives from all walks of life in the "Jia Yi Bing Ding" dialogue column. Among them, I paid attention to his interview with the modern artist Wu Jian'an . Wu Jian'an is known as an artist who believes in gods and ghosts. He can dialogue between art and faith to create a whirling world. Director Jia Zhangke interviewed Wu Jian'an about his views on the future world. He said that there are only two directions in the future world: one is for humans to move to outer space, and the other is to create a virtual world on earth.
The future that the artist sees is full of hope and despair. From Wu Jian'an's perspective, the spiritual home of mankind can never return to its hometown, and we will have to become ideological wanderers. This abstract world view and outlook on life need to be expressed through intuitive works. I paid attention to Wu Jian'an's "Five Hundred Brushstrokes", which is permanently collected by the Metropolitan Museum of Art in the United States.
"Five Hundred Strokes" is an innovative public art form that can create new content according to the theme. On May 9, 2022, the Central Academy of Fine Arts co-organized the "Five Hundred Strokes + Commitment to Quit Smoking" offline experimental art interactive event in the flexible office space WeWork Shangdong Park Community. The event invited contemporary visual artist Wu Jian'an to bring his work creation model "Five Hundred Strokes", which combines painting, paper-cutting, collage and other art forms, into the public health scene. Hundreds of people from all walks of life, including Siddharth Chatterjee, the United Nations Resident Coordinator in China, young actor/singer Xu Weizhou, and Quan Bin, general manager of WeWork North China, participated in artistic creation and made a commitment to quit smoking for themselves, their families, and everyone.
Everyone is an artist, art comes from life and is higher than life.
I can’t go back to my hometown. The people and things in my hometown are stored in my memory. Whenever we recall or listen to narrators from different eras recalling our hometown, our feelings are always full of warmth and strength.
Wandering in a distant place, the people and things in the distance will be our circle of friends. In the circle of friends, we can have meals and help each other, but the family ties can only stay in the mountains and waters of our hometown.
For my father, who has lived at the bottom for decades, hates Jia Zhangke’s works, I can understand that the old father passed The mirror of art sees ourselves. This mirror can be a demon mirror, or a haha mirror . Of course, it can also be a microscope and a magnifying glass. People's minds have many faces and are full of strange things. As the younger generation, our best role is to be a listener. We need to praise our old fathers for going through so many experiences. They are witnesses of the history of the Republic. They created the history of a family. The family is integrated into the family, and the family becomes a basic unit of the nation and shapes the country.
Classic lines from "Children of Jianghu":
I want them to know what thirty years in Hedong and thirty years in Hexi
You are no longer from the Jianghu, you don't understand.
Brother Bin: I am no longer a person in the world.
Qiaoqiao: But now I am running around in the world. I came all the way to find you.
This is the life of Jianghu children. Many people in that era called themselves Jianghu people, but it is difficult to explain clearly what Jianghu is?
More often than not, their "Children of Jianghu" appears like this:
The motorcycle driver said to Qiaoqiao: "Let's have a little fun."
The desire for desire, in the remote and uninhabited suburbs, in the wilderness where men and women are alone, rivers and lakes are like firewood.
The departure and return of hometown, our fathers planted the flag in the distance, we set our household registration in a foreign land through schooling, work and entrepreneurship. The return of hometown is in the Spring Festival, in Qingming, and in dreams.
Jia Zhangke has changed. He is no longer immersed in modernist feature films. He has started doing variety shows to entertain everyone and consume himself. This is the memory of a man with stories.
Facing the past and recalling the sufferings of the past, it is difficult for us to understand the flag of our fathers. They have experienced the changes of an era. They have been ruthlessly tempered by the times and become the casters of the times. They also maintain an indifferent and unremitting appreciation of realist works of art. After all, art comes from life, and light and shadow are edited into positive energy that conforms to the trend of social development.
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