At the Golden Jue Forum of the Shanghai International Film Festival, filmmakers discussed hotly: Chinese main theme films are winning more and more young audiences and receiving more and more enthusiastic market feedback
"Red Theme" is becoming a "new mainstream blockbuster
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In recent years, many main theme films have won both good reputation and box office with profound thematic expressions, superb artistic expressions, and sophisticated technical productions.
This year marks the 100th anniversary of the founding of the Communist Party of China. At the Golden Jue Forum of this Shanghai International Film Festival, keywords such as "red classic", "main theme" and "mainstream commercial blockbuster" were frequently mentioned.
One point of view has been unanimously agreed: Chinese main theme movies are gaining more and more young audiences and receiving more and more enthusiastic market feedback; a group of red classics with a distinctive contemporary flavor are becoming "new mainstream blockbusters."
"It is the pride of our filmmakers to be able to use images to express and record the past of our party and our country." At the forum "Exploring the Marketization of Main Melody Films" held recently, the producer Liang Jing said.
Representatives of the film industry said: No matter how the technology is iterated, the original intention of realist film creation remains unchanged, that is, to create for the times and for the people; only such works can break through the circle and impress audiences of all ages.
The key to the success of a movie with the main theme lies in "how to shoot"
Zhao Ningyu, professor of Beijing Film Academy and screenwriter of "King Kong River", believes that China's main melody movies have roughly gone through three stages of development: a number of outstanding masterpieces emerged in the early 1990s; in 2002 and 2003, the film industry reformed and the main melody film The upgrade has had a deep impact on this generation of creators in terms of narrative, audio-visual aesthetics, character positioning, and audience empathy; at the current stage, a group of outstanding young and middle-aged filmmakers have devoted themselves to the creation of "new mainstream blockbuster". The results are very good in all aspects, and continue to advance in exploration.
Liang Jing has worked on the main theme films such as "My Motherland and Me", "King Kong River" and the upcoming "Revolutionary".
She believes: "The main theme movie is actually a mainstream movie, because its values represent a kind of positive energy. There are such movies in many countries, and they are relatively successful in business. We still have a lot of space to explore. "
"The more classic themes have the potential and the possibility to make new interpretations. So we understand the red theme movies as'new mainstream movies'." said Zheng Dasheng, the co-director of "1921".
As the opening film of this year's Shanghai International Film Festival, the film has just met with the first audience and aroused enthusiastic response.
"Today's main theme movies can also be called mainstream commercial blockbusters. They are of high artistic quality. They have won high box office while gaining a good reputation, and have won the love of more young audiences." "Zhang Side" "Yunshui Ballad" "Iron Man" Director Yin Li emphasized that the success of excellent themed movies lies in returning to the film itself, returning to the market, and returning to the laws of art.
"As long as they are really moved by their hearts, filmmakers can not only attract the audience but also move the audience, and then use their works to conquer and shock the audience."
Touching stories and lively performances that do not show off skills are the real "high-tech"
With the continuous improvement of China's film industrialization level, "technology" has become a key word that cannot be avoided in film marketization as the main melody film moves towards the new mainstream blockbuster.
Yin Li said frankly that he sincerely hopes that creators can return to the "heart" of creation when they master high technology today-mobilize the emotions of ordinary people, so as to achieve an artistic effect of empathy and interaction with the audience.
Zheng Dasheng revealed that during the filming of "1921", director Huang Jianxin kept admonishing him: "Don't be tempted by the latest and most dazzling technology. Design scenes or shots for the technology." Whenever you see the actors in front of the monitor With vivid faces, Huang Jianxin will often say: "Look, this is something that any high-tech can't reach. This is'high-tech'."
Director Li Jun’s "Infinite Depth" has more than 1,600 special effects shots, but he still insists that in today's increasingly diverse audio-visual experience and choices, the audience is willing to enter the theater because of the common emotional experience.
"I think all the technological innovations carried out in the cinema today, whether it is IMAX or CINITY, are to enhance everyone's experience of this cohesion in the cinema." He said that the film focused the lens on the little people. "Everyone Audiences of the period are willing to watch heroes, and heroism is immortal. Although they are ordinary people in the movie, when disaster strikes, they have powerful energy, ability to rescue, and spirit of dedication."
Looking at the narrative methods of the main melody movies in recent years, more and more movies have organically combined the feelings and experiences of ordinary people in the background of the big era: "1921" returns to the historical scene a hundred years ago, recreating the panoramic view of the average age of 28 Hot-blooded youth; "My Motherland and Me" refracts the changes of the entire era with the stories of small characters; "King Kong River" shows the power of the "loveliest people" group portrait under the gunfire...
Our reporter Li Ting