"My Country And I": The Golden Narrative Of Creating The Theme Movie

Shen Lvjun / Wen

It should be affirmed that "my motherland and I" are excellent films. In its seven short films, there are many excellent works.

The film was placed in the 70th anniversary place of the ceremony. The seven stories were directed by seven main Chinese directors. No matter from the proposition, the movie structure or the location of time and space, they decided that it was a tribute to the Republic, but also a test for each director.

A good artist can push the art to the extreme in a very narrow scope. Under the fixed proposition, how to control the individual (common people), the motherland and the symbolic events of different times under a short film really tests the power. This is also the expression in the past "red narration" main melody movie. There are many classic works in "red narration". Most of the tribute films in the past were all about founding a party, founding a state, war and revolution. It is not only China, but also the most common way to show patriotic sentiments through movies in contemporary countries: instead of presenting daily life, it is a re interpretation and re discovery of ancient / contemporary national myths. After all, the process of building a nation and building a country is always full of great songs, great and sacred but very similar stories. This is also the reason why "red narration" is never old but hard to make new. If the main melody movie wants to break through this, we must explore a new narrative line.

"My motherland and I". Data map

The breakthrough of success is nothing more than the Hollywood theme of the United States. The captain style comic hero of the United States has made the star spangled flag the best symbol of the American spirit. The modern American military force represented by the Transformers and the ambitious army has made the beautiful F14 and F22 more popular and spreading than the World War II scenes of Saving Private Ryan. The movie "Red Sea Action" and "wolf 2" draw lessons from this model, integrating personal heroes and advanced powerful modern military into the macro thread of the rise of nation states. But one plight is that we do not own the heroism ideology behind these films. We will also find that there are obvious breakages between these "contemporary Legends" and the "red narration" before the founding of the people's Republic of China. This fault is the 70 year history of the country. How should the main theme be presented in the middle of the 70 years? In Chinese contemporary films, we are short of works besides rare works such as "born out of the world".

From this point of view, "my motherland and I" are "filling new" and, of course, "making up". It has opened up a new golden narrative way of Chinese main melody film outside the "red narration". Through the selection of important time nodes: founding, atomic bomb, women's volleyball, regress and Olympic Games, the new golden narrative successfully streamlined the history of the Republic and formed a consistent expression of "integration" with the motherland, individuals and collectives. The difference between different historical periods has disappeared. People no longer appear in the face of a generation, but are all "little waves" that grow together with the motherland. Private history and national history are effectively unified.

In Zhang Yibai's "meet", the atomic bomb research and development technician has been kept anonymous for three years, and met his wife on the bus when he was in critical condition. The scene of two man's middle dialogue constitutes the foreground of the picture, and the scenes and shots are quite fixed. This is a completely personalized dialogue. But if you look carefully at the scene, you will find that passengers in the car and pedestrians on the street outside the windows are changing.

Like water boiling, people are gathering and gathering. With the progress of the car, the prospects continue to be fixed, while the small crowd gathered in the background is slowly becoming a huge stream of people. People are holding red flags and holding newspapers in their hands. The sound of the sound of the gong and drum gradually covered the dialogue between the hero and the heroine. At this time, the attention of the audience began to shift from the slightly lengthy personal dialogue to the rear window. Through the transfer of attention, the lens language has also completed the shift from individual to collective. When the car was finally unable to move because of the crowd, the hero and heroine got out of the car and did not enter the sea. The atomic bomb test successfully became the historical punctuation of this "fusion" moment.

The same way of presentation is also seen in Xu Zheng's winning the title. The story focuses on the three consecutive championship of Chinese women's volleyball team in 1984. In Shikumen, Shanghai, the neighborhood gathered in the outdoor narrow alleys and watched the Olympic live broadcast around a TV set. The main character is looking for the girl in the winter and winter, but she must stick to her post to maintain the "fragile" TV antenna and receive the signal accurately, so that the whole hall can have the opportunity to witness the history and wait for the Chinese women's volleyball team to achieve miracles on the other side of the ocean. As a result, three levels of narration, including national honor, neighborhood audience and adolescent affection, are stacked in the narrow space scenes of the alleys. Through the editing and scheduling of small space, Xu Zheng made the expression of three original spaces and emotions separated into a whole. Perfection should be the theme of "my motherland and my motherland can not be separated for a moment" in the theme song.

This is the biggest creation of "my country and my motherland" as the main theme of "golden narrative".