mentions the hero of Chinese movie , and the fifth generation of filmmakers, mainly Zhang Yimou , Chen Kaige , and Tian Zhuangzhuang , make an indelible contribution. Although many filmmakers in are making movies for box office in the context of today's marketization, looking back at the emergence of the fifth generation of filmmakers in the 1980s and 1990s, their exploration of film art has also led the way in Chinese films and raised the height of world films.
Among them, Zhang Yimou has achieved the greatest achievements in film art. Although Zhang Yimou was thirty or forty years old at that time, he was in his prime, but as he entered his prime, he had a far superior thinking and exploration of film art that was far ahead of his contemporary filmmakers. This also led to the release of a series of fine art works such as " Red Sorghum ", "Ju Dou", " Big Red Lantern Hanging High ", "Qiu Ju Fights", and "Living".
"Red Sorghum" and "Ju Dou" play with color aesthetics, "Big Red Lantern Hanging High" injects unique compositional aesthetics, "Qiu Ju Fighting a Lawsuit" pursues realistic documentary aesthetics, "Living" abandons form and pursues the depth of humanities. Works such as also allow Zhang Yimou to be at the forefront of the times and brings Chinese films into a new world pattern.
Among these many representative works, "The Big Red Lantern Hanging High" is a typical work. Its subversive adaptation of the original novel "Wife and Concubine" of Su Tong also gave it a new meaning. especially moved the story background from Jiangnan to northwest Shaanxi. The unique use of traditional Chinese lanterns in the film also gave this work more artistic aesthetic connotation.
The best work with form and content
Since its birth, Chinese films have always been closely related to drama, and their origins with civilized dramas have also made them pay special attention to drama, pay attention to beginning, inheritance, transformation and transition, and storylines have long become the foundation of Chinese films.
However, movies are not just narratives of content, they also have formal expressions. If you focus too much on content and ignore formal innovations, it can only make the movie an accessory to the drama. The fifth generation represented by Zhang Yimou has deliberately changed the concept of film since entering the film industry and emphasized the uniqueness of films. The innovation and bold exploration in many aspects such as film color, composition, and sound have also allowed this generation of filmmakers to embark on a path different from the previous ones.
"The Big Red Lantern Hanging High" is also such a work. The symmetrical composition in it also brings the relationship between characters and architecture into a unique meaning . The pictures in it also have the artistic conception unique to Chinese ancient poetry and the freehand expression of traditional Chinese paintings. This aesthetic pursuit in the film is very rare in previous Chinese films, and it is also a continuation of old directors such as opera , painting, calligraphy, etc., which have always been based on the traditional culture of opera , painting, calligraphy, etc. in film art expression.
"The Big Red Lantern Hanging High" obviously brings this compositional aesthetic to the extreme. This kind of composition in the film almost implements the entire article. . Under the symmetrical composition, the film also specifically gives themes such as rules, patriarchal power that are insurmountable, and the woman is jealous and intriguing.
For example, even if you are a spectator, the director can perfectly display this symmetrical composition. The spectator outside the door is squeezed in the center, the door and beams in the background, and the two doors open in the foreground. This sense of symmetry is almost everywhere.
The ultimate beauty of color and night scenes
In addition to symmetrical composition, "The Big Red Lantern Hanging High" has also made more breakthroughs and attempts, such as the intervention of Seasons, allowing the season to participate in the narrative, and coupled with the music of traditional Chinese opera, the use of traditional opera elements in scenes such as lighting lanterns and hanging lanterns, all of which have expanded the space for narrative expression in the movie.
In terms of color, since most of this movies are narratives in night scenes, both the crisis and anxiety brought by the red lanterns and the depression brought by the cool tones in the white snow scene also bring a strong emotional impact.
For example, in a courtyard where lanterns are hung high, under the symmetrical composition, individual life is placed in a strict building, making people feel powerless and trapped in a cage and have nowhere to escape.
And under the night scene illuminated by heavy snow, the cool tones give people despair, and they cannot feel the warmth and depression of hope.
Overall, in the 1990s, when film could only be used to make movies, Zhang Yimou's "Big Red Lantern Hanging High" made a new height in Chinese films. The film allowed composition, colors, music, environment, and important props such as lanterns to participate in the narrative.
The beauty brought by the movie also comes from the pure nature, without a trace of artificial processing, and it is this sense of life that makes it particularly realistic and realistic, allowing the audience to breathe strongly with the fate of the protagonist of the film and think about the theme behind the film.
Form and content are not contradictory. Movies are not for beauty and beauty
For a long time, Chinese filmmakers have always misunderstood when dealing with movies. Some deliberately pursue the depth of content, while the monotonous and boring expression in form makes movies an empty preaching; some have embarrassed expressions in pure form, and no content makes movies a soulless body. The creative situation like
is that it is related to their lack of artistic skills, and the other is that it is related to their misunderstandings in their creative concepts. In fact, good movie works in are not contradictory in terms of content and form. Only when the two are organically combined can the sublimation of film art be achieved.
Just like Zhang Yimou's "The Big Red Lantern Hanging High" many years ago, the film has both the author's personal expression and thinking, and the characteristics of participating in the film form in the narrative to serve the entire film.
Of course, through this movie, we can also better understand the art of film. For example, as a comprehensive art, movies not only complete the narrative function, but also should have the exploration and innovation of the film language.
movies do not express beauty for the sake of expressing beauty. , for example, "The Big Red Lantern Hanging High" has too many visual beauty feelings, whether it is symmetrical composition or color, red lanterns, white snow scenes, and the use of opera elements.
This kind of surface beauty is just the outer layer. we need to see the inner "beauty" through the surface beauty, and the inner "beauty" may show the inner goodness of the character, or may disclose the evil of the human heart and the disadvantages of society.
In other words, it is actually the same in life. For example, "beauty" has three floors. The first floor is the beauty of nature, including animals, buildings and natural environment.
The second layer is human beings, because people with unique appreciation of beauty will ultimately implement human beings themselves. At this time, the beauty of human appearance will naturally become the object of our appreciation and record.
And the third layer is the beauty of people's hearts. The themes of love and kindness also cleans our hearts and achieve the sublimation of beauty.
The reason why
puts forward the above view on aesthetics is because many filmmakers in are now pursuing beauty for beauty in their creations, and pursue superficial beauty too much; and movie audiences are also pursuing appearance too much, ignoring the core content of the movie content and the inner heart of the characters.
So even now, even if 30 years have passed, we still cannot find an artistic masterpiece that can perfectly combine form and content, allowing its core to get along and participate in the expression.
Therefore, "The Big Red Lantern Hanging High" is a film that penetrates into the bone marrow of aesthetics. There are too many displays of the beauty of the night, the expression of the external beauty of the characters, the harmonious coexistence of the characters and the surrounding environment, and the ultimate direction of the characters' inner good and evil under the environment.
This is why Zhang Yimou made the film 30 years ago and its artistic aesthetics are still used as a model to study.
"The Big Red Lantern Hanging High" filmed the most beautiful night, but it did not just stay in the beautiful night.
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