Fang Wenshan Material Essay Material 200 Words

As a lyricist of the new generation, Fang Wenshan's rise to fame is obviously faster than others. This paper will analyze the characteristics of Fang Wenshan's creation in terms of content and form, so as to summarize the reasons for his fame. In terms of content, his creations are both full of strong national flavor and arrogant shouts of individuality; in terms of form, he uses jumping montage techniques and rhymes throughout.　　　　　　Keywords: national flavor, individuality, montage, rhyme With the rapid popularity of R&B king Jay Chou on both sides of the Taiwan Straits and even in Asia, the main lyricist behind him, Fang Wenshan, also began to gain popularity, and a large number of supporters appeared.　　　　Pop song is a type of commercial culture that panders to the public. Its production, performance and popularity are all governed by the laws of the market, and it must accommodate the interests of cultural consumers in order to be accepted and to fulfill its value as a commodity, which means that it is inevitably unlikely to contain too much unique and creative content1. Throughout the flow of pop songs in Hong Kong and Taiwan, after the period of innocent ballads, TW immediately entered the stage of urban love songs and quickly reached its peak, when healing love songs were popular for a while, which quickly expanded to the entire Chinese music scene, with an endless stream of works in the same style, but most of them were in a narrow realm, with self-loathing, pouring out their bitterness and misery, and the repeated repetitions made people doubt that there was much genuine emotion in them. The repeated repetitions make people doubt how much true feelings are there. With this with the lyrics of the creation is the style of beautiful, great Qi Liang official style (1) of the flow of the evils, the impact of the present.　　　　When all people are tired of the tedious complaints of love and affection, Fang Wenshan's emergence can be said to be riding on the momentum, naturally a hit. But his popularity is not just due to luck, he has his own reasons for his popularity. Instead of falling into trivial love affairs like other lyricists, he got rid of the shortcomings of lyric writing, created his own peculiar style, and solemnly declared loudly to the world: "The era of Fang Wenshan has arrived."　　　　　　　　　　I. Uniqueness in content: (a) strong ethnic flavor The music created by Jay Chou is known as Chinese R&B (2), and matched with it is the words of Fang Wenshan, who is full of Han ethnic flavor. A nation has **** the same geographical and economic life, has the same psychological state, and a unified language, this is unique to their own ethnicity and different from the characteristics of other ethnic groups, reflected in the literature can form a national style. To a certain extent, Fang Wenshan is a smart person, he can grasp the Chinese people's national complex, combined with the characteristics of the Han Chinese people in his creation, creating a Fang Wenshan style of national style, so that his works are full of rich national flavor. He himself said, "I like the traditional cultural components very much, and will intercept some creative materials from over there."　　　　First of all, in reflecting the sense of national history manifested. The wars and turnover of ancient Chinese society, the heaviness of being insulted in modern times, and the revitalization of modern times, all of these have become the materials for Fang's creation. In "Chaotic Dance of Spring and Autumn" with a leathery and tugging tone about the Three Kingdoms that chaotic and extreme era; "Double Sword" in the wounded dignity of the unbearable family was wet by the rain of the Tang suit is very oriental sighs; "Double Nunchucks" in the martial arts skills to destroy the sick man of East Asia's signboard; "Shanghai 1943" is filled with the soft language of Wu Nong and light sadness; "Dragon Fist" in the finally unbeatable and loudly proclaimed: "I am the dragon!" From the chaos of the Middle Kingdom to the resurgence of the sleeping lion, the history of the Chinese nation has been recreated one by one. As the lyrics of "Double Dagger" say, Fong is "re-cutting history through the lens to give people imagination."　　　　Secondly, it is shown in the depiction of the environment and customs. Take "Niang Zi" as an example, "Niang Zi, however, still folds a willow every day, and silently waits for me at the streamside estuary outside the village", the willow is still standing, and the streamside estuary outside the village, with just a few strokes, has shaped a typical fresh and beautiful Jiangnan landscape painting. At the same time, "the scenery into the autumn sky yellow sand swept, the inns in the northern part of the Sebei people more pasture there is no I horse is a little thin", but also depicted the desolate and sadness of the western frontier outside the Sebei. This kind of distinctive north-south correspondence can only appear in the vast land of China, completely different from foreign gothic churches, gloomy ancient castles, crowded squares, exuding a unique flavor of life belonging to the Chinese nation and the color of the scenery. In terms of customs, take "Shanghai 1943" as an example, the yellowish spring couplets with the words "peace every year" and the old family rice bowl with the word "full" written in regular script are some of China's unique folk customs, which are simple but full of affection, showing the Chinese people's longing for a stable and affluent life and their desire to live in peace and prosperity. This is also a unique folk custom in China, which is simple but full of deep feelings, showing the yearning and prayers of the Chinese people for a stable and rich life.　　　　Gogol said: "True nationality does not lie in the description of a peasant woman's sleeveless dress, but in the spirit of nationality. A poet may be national even when he describes the foreign world, provided that he looks at it with the eyes of his own national temperament, with the eyes of the whole nation, and provided that what he feels and what he says makes his fellow-countrymen feel as if it were precisely they themselves who felt and said so." The key to the presence or absence of national spirit and flavor lies in whether or not one writes with "the eyes of the nation". Fang Wenshan's lyrics are full of rich national flavor, thanks to his pair of "national eyes", he loves to travel, loves Beijing's hutongs, he carefully observes every inch of every side of Greater China with a free mind, and then applies the inspiration gained to the creation of a unique effect that is naturally different.　　　　　　　　　　(II) The arrogant cry of individuality This is an era that emphasizes the liberation of individuality, and everyone is crying out: "I have my own personality". Facing the fans who are mostly teenagers, it is crucial to cater to their young mentality. Thus, in Fang's works, we see the existence of individuality and individualism.　　　　　　　　　　The so-called "individuality" is to regard the individual as a unique molecule of human beings and society, to emphasize the individual's self-uniqueness to the society, independence and autonomy, and the ability of the main body to create, and to advocate the development of personal ability for the purpose of independence, freedom, self-awareness, and positive enterprising spirit of creation, and to express the pursuit of personal success, self-fulfillment, dignity and rights of individuals. It expresses the pursuit of personal success, self-realization, personal dignity and rights.　　　　　　　　　　The expression of individualism in Fang's works is also unique. What he expresses is not the sharp individualization and rebellious content, not the difficult and bitter situation of resistance; in his words, the self and the external world do not construct an antagonistic relationship; what he cries out is not the exposed, helpless and egoistic individual mind; what he expresses is not the frustrated and burnt feelings. Fong's cleverness lies in the fact that he has fully explored the mentality of today's young generation and fully realized what they really need. Longing to be recognized, hating to be bound, and wanting to be themselves in a big way, this is the ****same mentality of the young generation. He cries out, "I want to be myself," not with the usual hysteria, but with arrogant, unbeatable firmness.　　　　　　　　　　In the song "Class 3 Years 2", Fong expresses the teenage sentiment of longing to be affirmed and realizing self-worth through the unique imagery of "ping pong". "How strong is this first place (no need to ask if someone will challenge you) \ In the end, how many more hurdles do I have to pass (no need to be afraid to tell them who is a man) \ Can I not have this award (I don't want to ask I just want to sweat a little) \ I'll be my own referee (I don't want to say that I'll choose the opponents and the battles that I'll have to fight)". What the song is trying to tell us is that it is not the students who are good in their studies who can be good students, but those who have specialties and insist on utilizing them can also be good students. The concept of life he advocates is to "walk your own path", don't blindly follow the world's standards, as long as you have your own clear life goals, "just keep walking", "this kind of life is peaceful! ".　　　　　　　　　　In "The Same Tone" and "My Place", the expression of individuality consciousness is strong and extremely arrogant. "We are of the same tone \ we don't care about the weather forecast \ because it doesn't matter \ we want to play ball in the rain \ we dance \ we only watch music channels \ we long to mark a corner of the sky \ where blue is best \ I'm very much in \ a tacit understanding that can't be forged \ we are of the same tone \ we take the lead in everything \ we decide on what to wear \ there is an exclusive ringtone signal \ we never compare ourselves with others \ we only ever drink ice-cold drinks\ seldom laugh\ eat whole wheat bread", "Started in carving\ my personal characteristics\ the future is unpredictable\ stick to the choice of the moment", "I irrigate the principle\ to cultivate a unique concept\ flunked\ all other is garbage ", "Life shouldn't have a formula\I can dance ballet casually\according to the beat\hands off\quietly\like a swan putting its toes up on tiptoe\talking about fast food in this age\can also be very na?ve to say love". Yes, in the era of fast food, we have to be easy to be ourselves, what to wear, what to drink, what to eat, what to do, their own masters, life should not be bound, life should not have a formula.　　　　　　　　　　Of course, the individualism advocated by Fong is not arbitrary and haphazard. As said in "We Are Growing", "We are growing up never had to know \ have something to say will only make me stronger \ we are growing up never had to know \ together to applaud live more beautiful than others", he advocates a positive, healthy individualism. Stick to yourself and thrive, he speaks the mind of the majority of teenage fans, but also his expectations of the majority of teenage fans.　　　　　　　　　　II. Formal uniqueness: (a) the use of montage techniques montage is a basic means of expression in the art of film. Montage (montage) from the French, from the composition of architecture, assembly, borrowed to the art of film there are grouping, composition of the meaning (3). Montage way of thinking not only has a long history, but also with the growing influence of film art in human social life, montage as an artistic way of thinking and expression techniques is not only the patent of the film, but also began to be consciously used in novels, plays and other literary styles, so there are a lot of montage thinking to achieve the interlacing of space and time and a substantial jump in the works. If we call montage as a movie artistic expression method in a narrow sense, then as a literary creation, especially poetry, the way of imagery grouping can be called montage in a broad sense.　　　　Fong understands this and boldly borrows the montage technique in his lyrics. His lyrics are just like a movie, full of jumping words and phrases, which at the first glance do not match with anything, but they are extremely creative and imaginative, with jumping images and compact rhythms, which builds up a three-dimensional thinking space and gives people a three-dimensional shock, and surprises them with the fact that the words can be cut and spliced in such a way. Fong himself also said that this is entirely thanks to the movie: "The movie is the art of editing, for example, today there is a person was killed, the general public will be directly written out, and I will use the movie to write a sub-shot, the moon is dark and the wind is high, an insincere face, a knife, a black shadow jumping over the wall, a puddle of blood, my lyrics are not so flat, sentence by sentence, not so linking, I can jump to the words. taken for granted, I can jump and pick it up, like 'old Indian turtledove, learn to open up the population, cactus afraid to be shy, lizard walks across the room', there's no corollary but there's an atmosphere in it." The use of montage in songwriting not only makes it possible for lyrics to utilize images for narrative, but also allows for the breaking of time and space boundaries through editing and reorganization of images, expanding the capacity of expressive life in the drastic jumps in space and time and generating a strong artistic impact.　　　　　　　　　　There are various types of montage, including sequential montage with jumps due to the acceleration of the narrative rhythm and the omission of intermediate processes, inverted montage with jumps due to the reversal of the natural time sequence, and inter^-^^ montage with jumps due to the interlacing of space.　　　　For example, Fong's "Light Bulb-I" for Kang Kang: It's a sunny day today \ but you brought your brother to show up \ to see his face \ mood immediately changed to a rainy day \ like a wound being sprinkled with salt \ my pain has nowhere to go to redress the grievances \ a date turned into a nightmare \ to take him to the cinema \ wanting to hold your little hand \ he is sitting in the middle \ is playing a wonderful picture \ he clamored for a piss \ to come to the toilet inside \ actually laughed at me for being cheated \ go to the park together \ to shoot Under the sweet picture \ returned home only to find \ did not load the negative In this lyrics, depicts several groups of images: the first group, dating with his girlfriend, but saw his girlfriend with his younger brother appeared, disheartened; the second group, in the cinema, the younger brother sits between the two, destroying the atmosphere; the third group, by the younger brother tricked to the toilet; the fourth group, the park to take pictures to go home and found no negative. These groups of shots stacked on top of each other complete the destructive nature of the girlfriend's brother as a super bulb. This is due to the jump caused by the substantial omission of the plot development process, the narrative rhythm of the lyrics is accelerated, and the narrative capacity is also greatly increased.　　　　Another example is his song "I'm Sorry" for Jay Chou, in which the first part of the song is about the loss and sadness of the copper coin and the ring, and the second part is about his own emotions, while in the middle there is an insertion of a memory: "I miss the desks and chairs of the national primary school, I miss writing diaries with pencils, documenting the most primitive and beautiful, and documenting the you that I met for the first time." Here the natural sequence of events is broken, and the plot is restructured to make the lyrics jumpy. Due to the interlacing of time and space, the picture jumps, not only to avoid the monotony of the monotonous dull, and often in the reality, the past, the future of the skillful mix to create a unique charm.　　　　Another example is "The Death of Stopping the War", in which three action lines occurring at the same time and in different spaces are intertwined in a single lyric: one in which "she" performs her last show on the stage, one in which the people in the village are quietly watching from their seats, with some noisily eating candies, and one in which a chariot is already moving towards the village, and the hometown is about to be encircled, with the images jumping back and forth. One is a chariot approaching the village and the hometown is about to be encircled, creating suspense and tension in the jumping back and forth of the images. These three lines of action are twisted together and advance, making the atmosphere tense until one feels a sense of suffocation.　　　　As a kind of reading text, the jumping character of the lyrics speeds up the narrative rhythm, effectively avoiding the dragging of the plot and the static scenery and slow lyricism, so that the listeners who are tired of listening to love songs can obtain a new listening experience. Moreover, due to the existence of jumping, listeners need to combine many individual shots together, which forces them to give full play to their imagination in order to endow those intermittent images with logic and coherence. In such a listening process, the listener's sense of participation and creativity is mobilized in all directions, and the previous auditory memory and even visual memory and tactile memory must be integrated in a new mode to form an inner vision. In this sense, jumping is not only an important feature of Fang's lyrics, but also one of the important reasons for his unique artistic charm.　　　　(ii) Rhyming Throughout In July 2004, once Jay Chou's "Seven Miles" album was released, it was widely sung as the advertisement song "My Place" of Dynamic Band in the motherland. Jay created a new aural sensation with his mischievous warbling and paedophonic sounds, which is half credited to Fong's composition. In this song, the rhymes "e" and "ī" appear at regular intervals at the end of each line, and together with the paedophonic sounds, a mischievous and cute accent comes out. This is another characteristic of Fang's creative work: he is good at using rhymes to create the musical beauty of lyrics.　　　　The language of any literary work should be rhythmic, and lyrics should be even more rhythmic. Lyrics are language art, which combines vocal language with musical tunes to form a song. Therefore, we require the lyrics to be clear, loud and catchy, which is rich in musicality. Lyrics require a strong musicality, and rhyming is one of the most important aspects in terms of rhythmic harmony. Appropriate rhymes can better express the thoughts and feelings of the work, making it harmonious and easy to memorize and recite. As Lu Xun said, "New poems should first have stanzas and roughly similar rhymes, so that they can be easily memorized and sung in a smooth manner," and added, "Without stanzas and rhymes, it cannot be sung, and if it cannot be sung, it cannot be remembered." (3) This is exactly the point.　　　　With the same or similar "rhyme" after regular intervals, betting on the last word of the sentence, thus creating a sound back and forth repeated rhythm is called "rhyme", also known as "rutting The word "rhyme" is also known as "rut". "Rut" is the wheel pressure over the print, meaning that the last word of the previous sentence is what "rut", the next word should also be according to the previous "rut" print pressure up, so that is the rut! This is a good rhyme. Fang Wenshan is good at using rhymes to add musical beauty to his lyrics, almost every word he creates can rhyme, and even more rare is that he manages to rhyme every sentence throughout.　　　　For example, there is a cat in the hutong, the whole poem rhymes with "remote strip": There is a cat in the hutong with high aspirations, he wanted to go outside (zāo) heard that the outside world is good for everything, no one gnawed on the fish bones, all ate hamburger (bǎo) There is a cat in the hutong to run outside to leave his group of sisters to the busy streets to look for the rumor that the sandwich beef (bǎo) Bread (bāo) He's been here, he's been there, he's been there, he can't even eat the leftovers (zháo) No one knows his hometown language, no one is willing to talk about it (liáo) He can't find it, he can't look at it, he can't see it, he can't see that fabled goodness (hǎo) Thinking of the sisters in the alley he can't wipe it off, he can't forget it (liao) All the pride of the past, the sadness of the past, the tears are falling (diào) All the pride of the past, other people's land, no matter how good it is, can't compare to his own land. No matter how beautiful it is, it can't compare to my own nest (cáo) Another example is "Love Before the Western Era", the whole poem rhymes with "before words": The King of Ancient Babylon issued the Code of Hammurabi (diǎn), which is carved in black basalt (yán), more than 3,700 years ago (nián), and you're in front of the shop window (qián), gazing at the inscription's words (yǎn), while I am standing by, staring at the inscription's words (yǎn). You stare at the words of the inscription in front of the window (yǎn), while I am quietly admiring your face that I love so much (liǎn). There are countless examples of this, and one can marvel at his skill in the use of words as he uses them flexibly and plays with the sound of the words without the slightest effort, rhyming them all the way to the end.　　　　　　　　　　A veteran musician once commented, "In this day and age, it would be lonelier without Jay Chou." And without Fong, Jay would definitely be lonelier." Someone also said, "Lin Xi belongs to the 70s, and Fang Wenshan belongs to the 80s." Because reading his lyrics is like reading the most familiar comics of the 80s. His creative style is to emphasize the "new" and "strange", which is exactly what he pursues. Because of Fong's lyricist, our ears will not be lonely in this world and this era. References