Reborn in 1999, Be a Speculator Director

The movie "A Thousand Arrows Pierce the Heart" is not for ordinary people. Life is so difficult. Watching a movie like this can block your heart for half a month. This movie needs to be watched by people who live a good life, and after watching it, they can express their feelings that this is a good movie, and then when judging the movie, let those who are above and beyond say, this is art.

It's written by a literary youth, but it's a bit unreliable.

After reading five or six chapters, I couldn't stand it anymore. The author strives to be professional and suffers from the same literary youth disease as Director Chen. Whether readers of entertainment articles or viewers of commercial films, they are all amateurs in entertainment. Spending money is not to learn professional knowledge, but to see whether your work can provide good emotional value. Good entertainment articles should have a sense of substitution, suspense, and excitement. These authors seem not to provide it, and they just satisfy the author's own lust for rebirth.

Generally, when reading a book, you first read the introduction and character cards, so the content must match. But this book is quite strange. The title of the book is "The Speculator Director", which excludes literary youth. So why do so many reviews say "literary youth".

It's not like writing a novel, the story is too scattered! It's like a review article that piles up information, with too many fragments and a muddy story line.

According to everyone's feedback, I don't like professional terminology, so I will try not to use it later. Movie thinking about the protagonist is supporting ontology. Maybe you don't understand, so I'll talk about it separately. It will not be mentioned later in the book. Let's make a summary first: The director under Nortel's current education system is equivalent to an administrative leader with literary guiding ideology, as long as he understands some. The main function is to integrate management. Zhou Chuanji teaches ontology and believes that a director should have "technique before administration" and "craft before art". In the 1990s, he was expelled from Nortel because of this view. Although Director Xie Fei and Professor Zhou Chuanji have different views, he is very dissatisfied with the expulsion and believes that the school should have different voices. The following are the main differences between Zhou Chuanji's views and the mainstream of Nortel's directing department (which favors comprehensive theory): 1. Core differences: What is the essence of movies? Mainstream of Nortel Directing Department (Comprehensive Theory): Film is a comprehensive art that absorbs and integrates elements and technical means from various art forms such as literature, drama, painting, music, photography, etc. The core task of the director is to integrate these elements. Zhou Chuanji (Ontology): Film is not a comprehensive art! Film is an independent, new art form. Its essence lies in its 'unique material basis and technical characteristics of the medium': 'moving images and sounds recorded by light and sound waves' (cameras and tape recorders). He emphasized that the ontology of film art is 'the movement record of light and sound waves' and the unique experience and perception of time and space it brings. The uniqueness of film art is rooted in this, rather than imitation or synthesis of other arts. 2. A thorough criticism of "comprehensiveness": Zhou Chuanji's core argument: "Synthesis" is a vague concept: He believes that the term "comprehensive art" is vague and cannot accurately define the essence of film. Everything can be put into it, and as a result the film loses its own identity. "Synthesis" leads to dependency: Overemphasis on synthesis will cause film to become a vassal of traditional strong arts such as literature and drama (especially the "literary center theory" and "drama crutch theory"), inhibiting the exploration and development of the film's own language. He denounced that Chinese films have long been poisoned by the "movie view" and have become "drama in a box" or "moving comic strips". "Synthesis" masks the characteristics of the medium: directing attention to content (story, theme, performance) and traditional artistic elements, ignoring the study of the film medium itself (camera, tape recorder, film/digital carrier, screen/speaker) and the unique audiovisual language produced by it (movement, light and shadow, color, composition, editing, sound space, etc.). "Synthesis without film thinking is just patchwork": He believes that if we cannot first deeply understand the characteristics and language of the film medium itself, the so-called "synthesis" is just a rigid patchwork of things from other art categories, and cannot produce a true "filmic" effect. 3. Different emphasis on the elements of the film: The mainstream of Nortel's director department: when dismantling a film, it is customary to divide it into drama (literary), performance (dramatic), image (photography, art), sound (music, sound), editing, etc. The director needs to understand and coordinate these departments. Zhou Chuanji: Strongly opposed to using "literary" and "drama" as the core or primary elements of a film. He believes that the core of film is the audio-visual relationship. Redefining elements: He pays more attention to elements directly generated by the characteristics of the medium: Movement: the movement of the subject, the movement of the camera, and the illusion of movement created by editing. Light wave and sound wave recording: the texture, light and shadow, and color of the image; the direction, distance, space, and texture of the sound (the importance of simultaneous sound). Space-time structure: the unique freedom of time and space in movies (achieved through editing and internal scheduling of long shots). Audiovisual rhythm: intra-screen rhythm, editing rhythm, sound rhythm and their interaction. Unique views on "performance": He has a famous and highly controversial view: "There is no acting in movies!" This does not mean that actors do not exist, but emphasizes: The core of film performance is the actor's presence in front of the camera and his response to stimuli (especially the response to sound stimuli), rather than staged dramatic performance skills. Movie actors are one of the materials created by the director, and their performance effects are ultimately determined by camera selection (scenery, angle, movement) and editing. The actor's "performance" on the screen is a fragment reconstructed by the camera and editing. Directors should pay more attention to how to use audio-visual means (composition, scheduling, editing) to "present" the actors' states and reactions, rather than "guiding" stage performances like a drama director. 3. Different understandings of director's work: The mainstream of Nortel's directing department: the director is the chief commander, chief coordinator, and integrator. You need to have literacy, drama, etc., Be good at communication, collaboration, and lead a team. Zhou Chuanji: The director should first be an expert in the characteristics of the film medium, audio-visual language and production technology. The director's core abilities are audio-visual thinking and process control. The core of the director's work is to use cameras and tape recorders to create. Just like a composer uses notes, he uses elements such as movement, light and shadow, color, composition, sound, and editing to structure time and space and express meaning and emotion. He emphasized that the director's "authorship" is reflected in the unique creation of audio-visual forms, rather than just the interpretation of literary scripts or the coordination of various departments. He attaches great importance to the director's deep understanding and direct control of photography and sound (especially simultaneous recording), believing that this is the key to distinguishing film from other arts. 5. Differences in teaching methods and training paths: The mainstream of Nortel's Directing Department: a comprehensive curriculum system that emphasizes inter-professional learning and joint creative practice. The analysis film focuses on the dismantling and synthesis of the contributions of each department. Zhou Chuanji: Emphasizing that "craft comes before art": Students must first have a solid grasp of the technical foundations of photography, recording, and editing, understand how machines (cameras, tape recorders) work, and understand how the physical properties of light and sound waves are transformed into audio-visual experiences. He believes that without understanding craftsmanship, the so-called artistic conception is a castle in the air. The extreme importance of "pulling": He advocates focusing on the light and sound wave information actually presented on the screen (movement, light and shadow, composition, color within the picture; the specific content, orientation, sense of space, and relationship between the sound and the picture; the precise selection of editing points) through extremely detailed frame-by-frame footage (analyzing frame by frame, second by second), in order to train students' audio-visual sensitivity and analytical skills, and peel off over-reliance on literature and drama content. Opposed to "telling stories" too early: He criticized traditional teaching for allowing students to engage in the creation of narrative feature films too early, believing that this would lead students to use non-film methods (literary, dramatic thinking) to apply film forms. He advocates starting with short, non-narrative exercises that explore audio-visual possibilities (such as pure movement exercises, light and shadow exercises, and sound space exercises). Criticism of the "Literature Department Center System": He strongly opposes the model in the film school where the Literature Department dominates script creation and the Directing Department students rely on the Literature Department's scripts. He believes that this stifles the director's ability to use audio-visual thinking to create original ideas. Summary of the nature of the conflict: Nortel's mainstream director department (comprehensive theory): "Film is a comprehensive art, and the director is the master of integration." The charm of movies lies in the integration of strengths, and the director's skill lies in commanding the overall situation, coordinating all parties, and ultimately presenting an organic whole containing rich artistic elements. Zhou Chuanji (Ontology): "A movie is a movie! It is only about the recording and movement of light and sound waves." The charm of movies lies in the unique audio-visual experience and space-time structure provided by the medium itself. The director must be a craftsman and artist who is proficient in this art. His first task is to explore and use the language of film itself and get rid of dependence on other arts. Synthesis is the shackles that prevent film from becoming an independent art. The mainstream teaching system of Beijing Film Academy (especially the traditional schools of the Directing Department, Literature Department, and Performance Department): Fundamental conflict: This is Zhou Chuanji's main "opposition". As mentioned before, he denounced Nortel's teaching (especially the directing department and the literature department) as "misleading students", which is based on the "film view" and the wrong "synthetic theory" and cannot cultivate directors who understand the "film ontology". He directly targeted the entire teaching system and its representatives. Representative figures/groups: Department of Literature: Zhou Chuanji regarded the Department of Literature as the "source of all evil" and believed that "literary centralism" was the culprit that caused the film to lose its independence. He strongly opposed the directing students' reliance on literature department scripts, believing that this deprived the director of the ability to use audio-visual thinking to create original ideas. He is incompatible with the views of teachers in the Literature Department who insist that "the script is the foundation of a play" and emphasize the literary nature of film (such as the late Professor Wang Liu and other seniors who represent traditional drama teaching). Acting Department (traditional drama performance teaching school): Zhou Chuanji's famous saying "There is no acting in movies!" And his understanding of the essence of film performance (state of existence, response to stimuli, camera/editing reconstruction) completely subverted the traditional drama performance teaching system. He emphasized that actors are "materials" rather than "performing artists" on the drama stage. This will inevitably cause dissatisfaction and opposition from teachers in the acting department who adhere to the Stani system or traditional stage performance training methods.

It's baffling to watch! Some of them are not connected, and some things are written incomprehensibly!

There are too many books to search for, so I can only mark them.

If you want to be a master, you have to shoot auteurs. Popular director is 💩. Especially industrial directors are even more rubbish

If you are interested, you can take a look. In the first twenty years of cinema, a true film genre had not yet been born. It was not until the 1920s that the rise of European avant-garde films marked the initial formation of the concept of film genre. Although film history has the fewest genres and the shortest history among many art fields, its brilliant achievements cannot be ignored. During this period, the genres that really had a profound impact on film history roughly include: Early modernism represented by European avant-garde films; Soviet poetry films and prose films The Soviet film school represented; Hollywood commercial films represented by Hollywood genre films; As well as Italian neorealist films French New Wave films and other modernist schools. The rise of European avant-garde films 1. Early modernism - European avant-garde films Avant-garde films originated in France and Germany, and their influence spread throughout Europe, spanning about ten years from 1917 to 1928. During this period, avant-garde films were closely connected with various modern art trends prevalent in Europe, forming diverse genres. At the same time, multiple artists may be jointly influenced by multiple trends of thought, which makes avant-garde films present diverse genres and complex membership relationships. Among them, impressionism, expressionism, abstraction and surrealism and other ideological trends have injected a unique artistic flavor into avant-garde films. Avant-garde films can be roughly divided into French films and German films. French films emphasize pure cinema and abstract concepts, while German films focus on styles such as expressionism. Surrealism brought dreams, psychopathy, unconscious or subconscious processes to the screen, becoming the final destination of avant-garde films. 2. Soviet Film School - Poetry Film and Prose Film Within the Soviet Film School, there are two branches: "poetry film" and "prose film". Poetry films emphasize emotion and metaphor, while prose films focus on character creation and plot details. Poetry films advocate the core creative concepts of negating plot, in-depth exploration of metaphors, and making full use of lyrical functions. This genre gradually took shape in the 1920s. Influenced by the early French film avant-garde theorists and creators, they firmly believed that films should be like lyric poetry, achieving "the greatest freedom of association" and believed that "film poetry" is the highest expression of film art. Many classic works, such as "Battleship Potemkin" (1925), "Falling Leaves", "The Wish Tree", etc., Have demonstrated the artistic charm of film and conveyed profound social messages. "Prose film" has a genre that everyone is familiar with - the montage school. "Montage" is relatively easy to understand. 3. Hollywood commercial movies - genre movies Genre movies are an important genre developed on the basis of American Hollywood commercial movies. In the 1930s and 1940s, they once occupied a dominant position in the world film industry. The technology used to produce genre films is a conveyor-belt film production system implemented by large production companies in order to ensure commercial profits, with the exclusive power of producers and an emphasis on professional division of labor and each performing his or her duties. The so-called genre films are films created according to various standardized models. According to statistics from some Western experts, there are 75 types of Hollywood commercial films. But as art genres that have greater influence, they are mainly comedies, westerns, crime films, fantasy films and musicals. In the 1960s and 1970s, the scale of investment in Hollywood movies changed, leading to the decline of genre films from prosperity. Before this period, we can call it the classic Hollywood period, and then we entered the New Hollywood period. The so-called artistic films in China are the "romance commercial films" in genre films. 4. Italian neorealist films The rise of Italian neorealist films is particularly eye-catching. This film style focuses on reality and nature, taking ordinary life as creative inspiration. This school of thought has changed the aesthetic standards of movies by showing the real lives of ordinary people, which has important social significance. Neorealist film, a realist film movement originated in Italy in the 1940s, not only had a profound impact on world film aesthetics, but also had great significance in the field of film shooting practice. 5. French New Wave Films and Recent Modernism Schools The French press called the sudden wave of unknown young people competing to make films between 1958 and 1959 the "New Wave." In 1959, 24 young people made their debut films; in 1960, 43 young people became film directors. This group of young directors are called "New Wave" directors, and their films are called "New Wave" films. Later, the term "New Wave Film" was broadly used to refer to feature films that appeared in various countries around the world, especially feature films shot by new directors that dared to break the traditional film grammar. Lou Ye calls himself a "new wave", but in fact he only grasps the lower body and uses it as an argument. This type, according to ordinary people's understanding, is a patient with literary youth disease. ———————————————————————— The most interesting thing is that Berlin Film, the origin of avant-garde films, gave birth to the Berlin Film Festival with a realist tendency. Italy, the birthplace of neorealism, retains the highest award for avant-gardism at the Venice Film Festival. After 2004, the Venice Film Festival betrayed and began to take the realist route. During this period, the Venice Film Festival was also called "Little Berlin", and Marco Muller, the chairman, was called "pro-China and pro-American" (the middle refers specifically to the Sixth Generation Group) It was only after Mark Muller stepped down in 2012 that avant-garde films returned to Venice. The Berlin Film Festival has been occupied by extremist political figures since 2001. Everyone knows that Berlin is quite magical. ———————————————————————— Another category is the division, that is, European movies and American movies. 1. Narrative style‌: European films are usually praised as delicate and profound works of art, which tend to touch the hearts of the audience through complex plots, delicate characterizations and profound themes. European directors attach great importance to the depiction of the inner world of the characters. The lens language is rich and varied, and they often use symbolic techniques and metaphors to convey information, making the film full of poetry and philosophy. This unique narrative method makes European movies richer and more diverse in narrative, but it may also increase the difficulty of watching movies. In contrast, American movies pay more attention to the smoothness of the story and audience acceptance. The narrative structure is usually relatively simple and direct, the plot development is compact and full of drama, so as to attract more audiences. 2. Language expression‌: European movies tend to be more subtle and restrained, while American movies are more direct and clear. Character personalities in European movies may be more complex and multi-faceted, requiring the audience to spend more time and energy to understand and interpret. The characters in American movies are more distinct and three-dimensional, making them easier for the audience to understand and resonate with. 3. Film Production‌: European films are deeply influenced by the art film tradition, and many film works have a strong personal style and author's imprint. As the center of film creation, the director regards film as an extension of personal expression. American films pay more attention to industrial processes and teamwork, and their film production systems are more mature and complete. Film, an art form that is still relatively young compared to other art categories, has truly gained its independent artistic glory since Griffith introduced the complete montage method. Despite this, the intervention of commercial factors has prevented the artistic status of movies from being fully established in the hearts of the public. But what can I say in the past two years? American movies have become even crazier than European movies, and the industrialization process of European movies is actually faster. Two-level reversal. In China, let's not talk about it anymore, let's just code it.

What the hell are you writing? I have to make my stuff complicated and I have no desire to read it.

A good book, entertaining and readable. What's the point of a bland article? In the 1990s, you had to make something out of nothing to be readable, entertaining, and have a rebirth system. There is no market in China, so go to the United States. Can't you become an American celebrity? With a bunch of bastards, there is no readability. As long as the logic is online, your imagination will be as wide open as you like. Arrogant and domineering performance for readers, the entertainment is coming, There is no market in China, slowly make art, you are a person who is reborn with the system in hand.

Has the name of this book been changed? ? ? What was the original name?

First add it to the bookshelf and keep it. Reading the book reviews, I feel that this author should have good skills. With this skill, even if you copy someone else's plot structure, you can still excel.

You don't have pure blood, shouldn't the director major in photography?

I stopped reading as soon as I saw that the photography equipment was being donated and donated. It was disgusting.

Didn't he say that his family was not short of money? He also said that he couldn't use the camera and had to send it to school. Can't he open a company in Xiangjiang? Don't have money to make a movie and need financing? Nonsense, and he didn't say anything about his family's origins.

Don't mess with Liu's heroine, when will you reach adulthood? Isn't Yan Danchen and the like delicious?

Zhou Tao

This plain water style writing makes my head hurt.

There is no need to go to the three majors. Recently, China Entertainment has all gone to the three majors. It makes me tired of looking at them.

After reading a little bit, I can't figure out what the author wants to express. . Come on Shennong

The first chapter is quite explosive. This routine is too low, and the sense of déjà vu at the beginning of the game is unmatched. But the routine should be low. The key is that he hasn't used it well yet. The first one was about explaining the main line, but after a while it started to go off the rails, just off the rails, and then it turned back to singing. . I don't know where I got the board from. This is not what I need to eat. If I have the time, I might as well do something else.

Select the post and see what readers think. If you are willing to watch the film, I will talk more about the audio-visual language of the original film. If you don't want me to, just learn from others and choose key scenes to explain.

Also don't write about Dark China Entertainment, it looks too depressing, and most of it sucks.

"Burning" should be the last art film. Art films with commercial attributes. Suspense is the commercial selling point of this movie. I will make a commercial movie later. Maybe I will make "Kung Fu". Everyone thinks this movie is good. But many of them saw the storyline of Xing Ye's movie. I didn't see the quality of filming in this movie. I would like to take this opportunity to talk about Xingye's directorial skills. Xingye's directorial skills are really great. Hong Kong's camera language expressions are really not comparable to those of the sixth generation in China. It's normal for them not to be able to do it. There will probably be Chen Sicheng movies in the future. Why do I say that among mainland directors, Chen Sicheng is very good? He really understands the language of the camera and plays it off. To put it bluntly, Jia Ling is not as good as most domestic directors, including sixth-generation directors, in terms of camera language expression. The language expression in "Hello, Li Huanying" is much better than many so-called literary films. We really care about the audience watching the movie, rather than treating the audience as a garbage dump for their thoughts.