After the end of the 1980s, the drastic changes in the Chinese film market made it difficult to sustain the "exploratory films". Chinese young and middle-aged directors were divided in their artistic pursuits. Some of them produced films that combined exploratory and ornamental qualities. Among them, "Black Cannon Incident" directed by Huang Jianxin and "Red Sorghum" directed by Zhang Yimou are the most representative works. Red Sorghum" depicts, in a new art form, the simple, wild life of a group of peasants in China in the 1920s and 1930s and their bloody battle against the invaders. The film's plot is highly dramatic in composition and celebrates the freedom of life through characterization. Love is true love, hate is true hate; great love, great hate, great life, great death.
Second, the audiovisual language reading.
The depression and inhibition of oriental culture have had a great negative impact on the Chinese. Nearly a hundred years of humiliation and trauma have made both the official and private sectors tend to be overly defensive and prone to resist all foreign values. Resistance, confrontation, is the dominant idea in thinking about foreign relations. Closed-door, closed-door self-defense is just a kind of negative choice in a situation of no recourse. Red Sorghum" with strong colors, bold style, calling the Chinese people excited national spirit, with the film on the traditional concepts and stereotypes of power, launched a powerful attack and challenge. The film combines narrative and lyricism, realism and depiction, and brings into play the unique charm of the movie language. Various awards came from home and abroad, and Chinese films gained international fame and went global. Due to his gifted sensitivity and understanding of audiovisual language, Zhang Yimou has created a rare miracle as a cinematographer, actor and director.
1. Analysis of important passages:
(1) Sedan chair:
A group of young, strong, muscular men, exaggerated action modeling, and the vast untouched, extremely simple orange-yellow land, soot, warm and full of red cover, sedan chair, unruly, shocking yells, a perfect blend of exciting audio-visual effects. Yellow land and background, very bright, light and comfortable. The main characteristic of the yellow color is bright, reflective, generating light as well as showing a quickness and brightness that is not its nature.
"Sedan Chair Song" and "Sister, You Boldly Go Forward", a sound that all seems to be gushing out from life, the Northwest people, the Northwest style, the Northwest style, the Northwest's ruggedness and toughness, in the time and space of the movie overflowed. Free and unrestrained, sacred and game, life and entertainment, youth and bravado are perfectly combined, and people are moving hotly and savorously according to their nature, and from content to form, they are drenched in the poetry and praise of freedom. The language of the movie and the capturing and cutting of life are new and fascinating.
Turning the sedan chair upside down and sacrificing to the god of wine were customs in the early years of Shandong. How exactly, the original author has not seen, the older people have heard of it. Mo Yan, however, could use his imagination in his novels, using words to form a marvelous world of folklore, which caused a strong reaction among readers. In his movie, Zhang Yimou used audiovisual language to create a pleasing screen world, which overwhelmed international fans and won warm praise.
(2) Wild Harmony:
The sorghum that Grandpa steps over forms a circular altar. The union of the sexes is imbued with sacrosanct meaning, and the process and purpose of life are highly unified. Fiery red sorghum, painted by the sunlight into a golden wild dance, uprooted suona sound shocking, as if cheering, as if the salute. Sing the praises of life's free stretching, yearning for the great splendor of living.
"The purpose of doing learning, and ultimately have to be implemented to do people, or to make people live more and more spiritual. ...... your life state first have to heat up, live up, exuberant, dare to hate, dare to love, dare to live and dare to die, born down the children and grandchildren is also nine and a half pounds of fat boy, can not have a belly of culture, but they are living more and more weak." "Chinese people have a big problem, every day to discuss why people live, but precisely do not pay attention to how people should live." ①
"Red Sorghum" uses an extreme scene to express a simple idea -- people are first and foremost human beings, creatures that belong to themselves first and foremost. The awakening of human subjectivity is essential to the democracy and progress of a society. The annihilation of the individual, the ego, means the non-existence and meaninglessness of everything for me. Human beings have normal desires and needs as human beings, and the process of satisfying them is like a kaleidoscope of life's various forms, condensing the colorfulness of human nature. When unreasonable things prevail, reasonable things are often doubted and even deprecated. Selling one's body and soul for money and power is abnormal, while in some places it is a matter of course and commonplace. If you put aside the reality of material conditions and snobbish pursuits, you will be ridiculed, taunted, and questioned. The concept and thinking of the end, so that people live out the warmth and power of man.
(3) Resistance:
The process of the continuation of life is a process full of contradiction, confrontation, compromise and unification.
Jiu'er, who is young and beautiful and standing at the beginning of her life, must obey her father's arrangement to marry the leprous old man, Li Doudou, who is financially rich. Jiu'er's youthful vigor and her father's inhumane disposition, the common people's routine and the bandits' wanton attack, the Chinese people's living home and the Japanese invasion army's violent trampling ...... The War of Resistance Against Japanese Aggression is a tragic encounter experienced by the Chinese nation in the process of seeking survival. The Chinese people have paid a heavy and incomparable price, and the War of Resistance against Japan is a history of Chinese movies, literature and other forms of art that cannot be written. The anti-Japanese war theme accounts for the capacity of the latter three books of "Red Sorghum," writing the tragic and violent side of life when it encounters abuse and destruction.
"Red Sorghum" write anti-Japanese, not for the sake of writing, and not simply limited to anti-Japanese itself. The money and power possessor, the leprous old man Li Doudou, and the force possessor, the Japanese invading army, are both symbols of the antithesis of healthy development, freedom and happiness, and hostile factors to the youthful vitality of a lively life. It is a symbol of predicament, a symbol of development against obstacles. This is the director different from the conventional treatment of similar subjects of special features, but also his unique and unusual place.
1) Zhang Yimou, "Explanation of the Direction of Red Sorghum"
It is important to be both similar and to make a breakthrough. The use of movie language, whether visual or auditory, to find a balance between the legendary and the real sense of fulcrum, not stick to one method. The true reproduction of sound and picture is not the ultimate goal, but the important thing is to form a considerable impact on the audiovisual feeling, so that the audience will be moved, emotionally and mentally. Impacting the audience, mobilizing the audience, guiding the audience, and respecting the audience are the dominant ideas that the director clearly embodies in the practice of film language, and the box office and the praise and discussion stirred up both at home and abroad have drawn the distance between the film and the audience closer, so that the commercial value of the film, the cultural dissemination, and the social benefits of the film have been fundamentally safeguarded.
(1) Image modeling: strong, distinctive and new.
The image is the physical form of the way of thinking. Zhang Yimou said: "The reason why I shoot "Red Sorghum" with a bang, Zhang Zhang Yang Yang, is to show a kind of painful attitude towards life, to express 'people live a breath, trees live a skin' such a clumsy straight and simple truth. Only in this way will the people's nature be stimulated and developed, and the country's strength be strong and unceasing." ① The images and sounds of "Red Sorghum" create a unique feeling. Characters are full of life and vigor, with strong and brave movements. Mo Yan's novel writes about people's flair, and Zhang Yimou's movie writes about people's love. Characters and the structure of the combination of the two main characters dry fire, anti-traditional personality is very. The two protagonists are cheerful and open-minded, and they are full of energy and vigor in life and death, and the freedom and happiness of being a human being can be seen in their heart's desire. "I just want to use movies to influence people, people will not stay at one level, the same is true for movies, I hope there are a variety of movies to drive a variety of thinking." (Zhang Yimou language)
The mature sorghum two or three meters high, a majestic piece, through the wind, wave-like surge drumming. The screen rushes with the vigor of the soaring flow. Red Sorghum" image modeling strong, distinctive, innovative, profound reasoning, concise expression, to express ideas in a relaxed and natural form, the pursuit of cinematic, artistic narrative, the scene does not earth close to shoot sorghum in the wind dancing wildly, as far as possible to bring the sun into the picture, brilliant sunlight in a sorghum jumping between the flickering, dark green sorghum dyed into a golden yellow. Sorghum in a variety of light, angle changes in the glowing, backlit translucent crystal sorghum in the wind fresh and stretch, conveying the director intentionally highlighting the vitality and charm, the sorghum shot humanized nature. The lens language of "Red Sorghum" is an outstanding example of the profound influence of the spirit of classical Chinese aesthetics on modern cinema.
"I like the art of condensation, the art of expression the most." "I am from Xi'an, and I especially like the Chang'an School of Painting. Zhao Wangyun and Shi Lu painted the Loess Plateau with large, thick, withered brushstrokes. They used ink as color, large brush strokes, and outlined the sense of history, heaviness and dryness of the thousands of ravines and gullies in northern Shaanxi, which were very fully expressed, and in no way resembled the humid Jiangnan vignettes. I went to see Maoling, Huo Zaiwei tomb stone carvings, a piece of flying stone, tell you is a tiger, is a horse, God-like! Qin bricks and Han tile block how big, Qin cavity black head called pale and rough, even Shanxi snacks are more imposing than other places! All these have a pretty big influence on my aesthetic taste." ①
The actor is the target, the most fascinating viewing object on the screen. Appearance is the inner material manifestation, and the difference between farmers and urbanites goes beyond clothing. Shooting of the first, taking into account the overall style and feel, in order to like, in order to wash out the urban fat and fat powder gas, first let everyone tan, thin some, add the sense of frost. As a result, "Red Sorghum" character modeling impact is very strong, the picture to create a strong, to the audience at home and abroad has left a wide range of deep impression.
Zhao Jiping said: "Zhang Yimou in the art of feeling, you look inconspicuous, but to the screen force pull dry catty, in the styling he is a master. Each of his films is different, but he can make a complex thing simple, so simple that it captures one of the most crucial things, and uses the most concise language to illustrate an esoteric problem, which is his greatest strength, his greatest characteristic, and where his genius lies."
Color ideogram: red is the dominant tone.
The blazing, powerful red is the dominant tone of the color of the entire picture. Gu is a first-rate cinematographer, giving full play to the color sense, paying attention to the use of color's unique visual instinctive power. The protagonist wears red clothes, and the final picture is all red. Not only is all the sorghum red, but the sky and earth are also red, as red as blood and fire. Red represents revolution and symbolizes warmth. Warm attitude towards life, stretching vitality. In the face of the trampling and ravaging of evil forces, the individuals and groups of life resist in the most primitive and essential way, even if the power contrast is unimaginable. Red Sorghum celebrates life through the special application of color. The intensive use of color's intrinsic connection and tension gives the audience a concentrated and deep visual impression.
The color red appears in the number one position: adventurous, intense experiences, the pursuit of excessive sexuality to resolve feelings of disappointment, loneliness. Wish to seek a rich experience through their actions, the pursuit of a full life. The color red indicates activity of the vital force, nerves, secretory glands, implying tangible desires. The urge to achieve goals and success, the desire to live a colorful life and to gain rich and varied experiences in all aspects of life. The color red is stimulating, aggressive, ranging from sexual prowess to the ability to transform nature. Positive actions, behavioral impulses such as sports competitions, fighting, competition, eroticism, aggressiveness, productivity. Symbolizes the blood of conquest, igniting the fire of the soul, polysemic character and masculinity. Sensationally, it indicates appetite, emotionally, hope, and physically, random muscle or sympathetic regenerative organs. In time, the color red indicates the present.
The natural scenery of red flowers and green leaves shows that life itself is colorful, non-single element and color can encompass everything. Red Sorghum is dominated by red, but there is an organic dispatch of other colors, forming a rich system of color representation. Upside down sedan chair passages vast warm yellow area, yellow land, yellow soot, yellow skin, all kinds of modeling entities, spatial passages naturally and arbitrarily show a variety of tones. Yellow is a typical earthly color, containing centrifugal full of wild mania stimulating intensity of the original tension, color fullness thick solid and powerful. Local passages with yellow as the main body, red cover, sedan chair, red bride become the center of beauty. In the impoverished land and backward people, there is a great zest for life, longing and vigor. Unless hindered, the color yellow is infinitely expanding, denoting palliative, which psychologically means freedom from heavy loads, dilemmas, problems, distress, and constraints. Yellow symbolizes the warmth of the sun, and this light makes one quick and happy. Sensually, it has a comforting stimulating quality, and emotionally, it is full of hope and joy. Physically, it is the sympathetic and parasympathetic **** with the same action.
The subdued sedan chair passage, with the yellow color chosen for the number one position, is a longing for relief, a desire for more happiness, and implies that the search for relief will be met with entanglements. Smoothness and connectedness are necessary in order to achieve some level of fulfillment. The color yellow indicates progress toward the future. Clearly emphasizing the color yellow, there is a desire to escape from the difficulties of the present situation. Yellow indicates a desire to be valued and respected by others, to cherish time, to pursue one's own ideals, and a desire to move outward in a restless way. The yellow color indicates the changeability of the director's concept of life and death, which is presented in the film in a colorful way. The thrilling and heroic nature of the wild passages, the blood spilling on the sorghum field and the righteousness at the end of the movie. Life and death are all red-hot and sacred, and the scenes are shot with a sense of ceremony. Sunset in the sorghum field, colorful and warm. At the end of the film, the eclipse, my grandfather and father, the entire space bathed in blood and the color of the sun, appeared to solidify tends to eternal silence, visual modeling brilliant and magnificent, infinitely gorgeous.
3. The pursuit of ornamental value: the development of the theater space, and the constant change of audio-visual effects.
Film at the beginning of its birth, with its entertaining side, conquered the new curious human beings. Louis Lumière's photographic technique to restore the exquisite realism of reality, Georges Méliès' theatrical elements injected into the image to give the film a stronger expressive power, Griffith, Eisenstein, Spielberg, Zhang Yimou, generations of Chinese and foreign directors and technical masters, in order to make the film better to see, and go to great lengths. Movies are firstly for people to see, and the pursuit of viewing value comes first. The pursuit of ornamental value is the first priority. No matter how good the idea is, if no one appreciates it or appreciates it, it is equal to zero. Since the new era, Chinese directors and filmmakers have paid more and more attention to this point.
In the nearly 100-year history of Chinese cinema, there has been a gradual and valuable process of attaching importance to ornamental value. However, with the interference of the leftist line after the liberation, the pursuit of ornamental value was impacted and restricted, and the development was relatively slow or even stagnant. In the new period, a hundred and one things to do, ornamental attention and research, accounted for more and more weight, good-looking as a basic condition is no longer suspected.
"Red Sorghum" color block rotating jumps, music is rich in drumming, radioactive impact on the audience, and even away from the kiln of the dramatic plot, directly into a specific shape of the space for pure emotional experience. Years to support the plot of the film is no longer important, the drama of the crutch is unknowingly put aside, the story is just the path you enter the film． The story is just a path for you to enter the movie. After entering the movie, there is an appreciation space where the story and the plot cannot be framed, and the unique audiovisual effect is fascinating in itself. The extremely permissive and uncontrolled modeling style and audio-visual effects realize the desire for free natural life forms and the complete resolution of infinite repression. In Zhang Yimou's subsequent movie creations, he consistently maintained his persistent pursuit of good looks. Due to the excellence of his own quality and artistic cultivation, his movies contain intriguing meanings behind the good-looking ones, and have become a bright landscape that cannot be ignored in the world's movie world.
The special significance of ornamental and spectacle for movies cannot be doubted. Now the application of high-tech technical means to give the film evergreen artistic life, to meet the people at home through television and other media can not get the audio-visual charm, so that the cinema in the number of viewers in the sinking and floating in the continuous development and improvement. Zhang Yimou's works tell us that the good-looking and ornamental value of movies is not only a miracle of audio-visual technology, but also a miracle of human thinking and vision. Over the past one hundred years since the birth of the movie, the pursuit of the ornamental value of the movie has created a large number of artistic masterpieces, leaving a magnificent and splendid cultural heritage for human society.
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