After the disintegration of the Soviet Union, Russia's economic policy was comprehensively adjusted. However, without making a good prediction, the "shock therapy" and privatization of Gaidar and Chubais did not create a market economy, on the contrary, privatization dismissed any hope of improving efficiency. The expected Pandora's box was opened, but it released vicious inflation. From 1991 to 1998, Russia's gross domestic product fell by 49.4%, which can be said to have lost half of its territory. The financial crisis that broke out again in August 1998 almost brought the Russian economy to the brink of collapse.

under the background of the national economic crisis, Russian production has declined, prices have soared, people's living standards have declined, and the whole society is in disorder, which has brought great pressure to the practice of economic marketization. So far, a truly natural and normal market economy is still just an attractive "expectation" in Russia. In this expectation, the Russian film industry has suffered a heavy blow, from creation and production to distribution and screening. However, Russians who love art have not given up their films. Under the circumstances of backward infrastructure and lack of funds, and under the pressure of Hollywood's high-tech and pure entertainment, the exploration of Russian films has been slowly spreading

1. "Hollywood-like" films: imported, unable to find a foothold

After Russia lifted the quota regulations on imported films, a large number of foreign films with uneven quality, With its low price and dazzling "cultural fast food", American films occupied the Russian film market in time and effectively. In the face of huge commercial interests, Russian local film creators have borrowed or imitated Hollywood films for different purposes. Among them, many films are shoddy and have little artistic value. However, there are also some films that condense the creator's thoughts and personality, which can not only attract the audience, but also maintain the artistic level.

Love is the eternal theme of movies. When Russian film creators "transplanted" the model of Hollywood romantic films, although they kept the pure entertainment scene descriptions that could attract the audience's eye click rate to varying degrees, some films still kept their artistic taste, bearing the unique elegance of Russians. Raindrop imprint (1991) is a modern Greek myth. The film allows young female musicians and returned middle-aged musicians to meet and fall in love in the unsolved mystery until the mystery is solved. The film inherits the tradition of Greek mythology and reveals a kind of pain that people are at the mercy of unknown fate. In 1998, the old director Peter Todorovschi's Love Trio gave up thinking about the times and extended its tentacles to the fashionable love triangle at that time. Although the author uses Russian suspense, satire, humor, lyricism and other techniques, his ideological content and artistic level are far less than the author's previous War Romance, so that "I don't know why, the audience didn't respond to the film." [1] The film "Music in December" (directed by Dykhovichnyi in 1996) also depicts the story of a man who went abroad to live abroad and the same mother and daughter caught in the entanglement of triangle feelings after returning home. The tragic ending of the film seems to reveal the current gloomy mood of Russians from one side, but the old-fashioned love mode has driven away the audience who were already in a bad mood.

The underworld forces are commonly used in Hollywood movies. In Russia, after the deconstruction of the film censorship system, a large number of underworld films showing the social unrest in Russia began to rise. In 1992, the film "To Survive" made by director Fu Plotkin tells the story of a veteran who struggled with the underworld forces during his tenure as the director of a mountaineering camp. The film not only draws lessons from the thrilling and tense fighting scenes of Hollywood films, but also inherits the fine tradition of Russian films in dealing with interpersonal relationships in detail. Although the plot is simple, the film's expression methods are diversified, including the application of documentary creation principles and the characteristics of children's films, and the distribution situation is better. In 1997, alexey Balibanov's Brothers was also set in the struggle between demobilized soldiers and the underworld. Danila, the hero of the film, waged a life-and-death battle with the underworld forces to save his brother. Finally, Danila killed the underworld elements, took their money and gave it to those he thought needed, and then left Petersburg by car. The film has been recognized by the audience, but Danila's transformation from an unpretentious young man into a ruthless killer has caused a lot of controversy.

The theme of gang gangs is closely combined with the films that show the underworld forces, but in Russia, this kind of films that follow the Hollywood model have extended their critical tentacles to the real society. In 1991, the Russian Roulette by V. Chekhov borrowed the plot model of the American film Bonnie and Clyde, which truly and accurately showed the social unrest and chaos in Russia. Many scenes of fighting and gun battles in the film are thrilling and very close to the style of Hollywood commercial movies. No wonder some Russian film critics call it "Bonnie and Clyde of contemporary Russia". In 1998, Valeri Todorovsky's "The Country of the Deaf" touched the Russian social reality again through the future and destiny of two girls. The plot of the film is simple, but the plot setting uses many elements of modern movies: love, friendship, money and so on. In the narrative way, the addition of underworld, drugs, striptease and other spices further enhances the visibility of the film. Although the film is suspected of escaping from reality to a certain extent, it typically represents the style and trend of Russian "second wave" film creators. In 2, the newly established "Alchemy Film Company" released the luxury film "Shady". In order to adapt to the new consumer groups cultivated by American blockbusters, the film adds natural phenomena of cosmic natural disasters such as falling meteorites and solar eclipse to the ordinary detective and gangster plots, but the film has no artistic breakthrough.

In 1998, astrakhan directed the film Death Contract, which can be classified as a horror film. The creator wanted to create a horrible atmosphere by killing people in a secret place where human organs were transplanted, but the film was not recognized by the audience because of its exposed commercial purpose and catering tendency. In 1999, Vasily Picula's latest film, Sky Filled with Diamonds, was popular, but it was handled in a rather crude and mediocre way. In 2, Alexander Zeldovich did a better job of Kunyan Talentino's copy of Moscow, but compared with the real American commercial film, the gap is still obvious.

On the whole, Russian "Hollywood-like" movies are "all-inclusive" in style, and some of them have a certain depth in revealing social problems, but they are not satisfactory in attracting audiences. In addition to not mastering the characteristics and laws of style films, perhaps the fundamental problem is that Hollywood-style films can't find a foothold in Russian tradition at all. Therefore, it will take real time for the Hollywood model to establish its firm position in Russia.

2. Comedy films: local products make people laugh.

According to a survey, among the films currently shown in Russian cinemas, comedy films are the most popular, which may be in line with the characteristics of kindness and wild life in Russia, or it may be because the heavy real life makes people love comedy styles. However, there are few pure comedies in today's Russian comedies. Whenever directors set foot in comedies, they always reveal a dark background or a tearful smile.

In 1991, Paradise, written and directed by eldar ryazanov, expressed the hard life of a group of artists and unfortunate old people by metaphor. At the end of the film, with the help of aliens, this group of people flew into the sky on a strange train. The film won the "Nika" award for best feature film in 1992. But the director lost his usual sense of humor, and the ugly and absurd environment and abnormal people in the film made the audience feel disgusted. In 1996, riazanov's Hello, Fool topped the charts that year, but a lot of jokes in the film gave people a feeling that they had no foundation in life. It seems that talented riazanov has no desire to laugh in the face of a depressed life.

In 1995, Alexander Rogozhkin's "The Special Feature of National Hunting" was very attractive to the audience, and the box office and video distribution revenue of the film reached the same level as that of western blockbusters. The film combines Russian traditional hobbies: drinking and hunting, and creates a lot of jokes through various adventures in the hunting process. However, "What's Special", which is full of relaxed laughter, is also not a pure comedy. The film plays a joke on the "wine culture" in national life with sharp irony. In 1998, Luoguo Rijin's "The Special Features of National Fishing" took a group of general Ivolgin who were still wanting more on a more lively fishing trip. The film boldly invented some bizarre plots, which made the taste of vodka spread to warships in military exercises and submarines illegally invading the waters of neighboring countries. The funny purpose was very obvious, and the film took a big step towards pure comedy.

In 1994, Sergei Rivnev, the backbone of the second wave in Russia, released the film Sickle and Hammer. The film tells the absurd story of turning an ordinary person into a typical person needed by the times by changing gender. The film is a funny ridicule of Stalin's culture and politics, full of bitterness and wit, but extremely gloomy. In 1993, Yuri Maming, with a sense of humor and comic talent, expressed the mentality of Russians in the tide of going abroad with Window to Paris. With a cautious attitude, the author explores an artistic structure that can show the complex mentality of Russians about foreign life: by opening a window on the wall, people who dream of going to Paris can open their eyes and then come back to Russia in reality. The film won the director award of the "shock" film festival that year. However, the far-fetched situation and not ridiculous slapstick have greatly damaged the quality of the film. From 1995 to 1996, Autard Ioseliani released the series Biography of Gangsters. Among them, Biography of Gangsters, Chapter 7 is a well-structured film full of anger and ridicule. The film describes the stupidity and violence of human beings in this filthy society where guns are rampant and gangs are rampant from the Middle Ages to the Soviet regime until today. There are many funny things in the film, but this kind of smile is a grin with a straight face.

In addition, some good comedies or melodramas have been damaged by excessive indulgence in farce. For example, Bader Longjin's Wedding (2) tells the story of the "struggle" between good people and bad people in a miner's town, Vladimir Menshov's Envy of the Gods (2) tells about Moscow in 1983, and Vladimir Fukun's Home of the Rich tells the story of how many generations have lived in a house.

At present, in Russia, the creation of comedy films has not really entered the track of pure comedy style. Many films, whether they expose the customs of the Soviet Union in the past or ridicule the current social reality, the creators don't want us to laugh, but make us feel a sting. Moreover, at present, Russians are too obsessed with absurd aesthetics, which makes local comedies more and more conceptual. Perhaps the reality is too heavy for filmmakers to be happy, and the broad masses of people can't simply "comedy" once. At present, Russian comedy-style movies are only a small part, far from forming a scale.

3. "New Russians" movies: Newborns need time to grow up

"New Russians" movies came into being after the phenomenon of Russian upstarts. The so-called "upstarts" are businessmen who used various channels to quickly get rich and live a luxurious life after the disintegration of the Soviet Union. Most of them live in big cities such as Moscow and St. Petersburg. The film "New Russians" focuses on them, and reflects the reality of today's Russian society through their living scenes and experiences.

In 1995, A Passenger's Script, directed by Abou Delache Toff and Mindadze, was more similar to the "upstart movie". The film fictionalizes two social images: the judge and the tried. The young man was involved in prison before the disintegration of Su. After the disintegration of Su, he was released from prison and became one of the new rich. By chance, he saw the judge who had tried him on the train (now he is a conductor). So he began to take revenge in a planned way, but in the end, it was the young people who died. The film mainly shows a kind of revenge psychology. Although the film won the Silver Bear Award at the Berlin Film Festival, it received a mediocre response in China. Perhaps the author's fiction was too wishful thinking for people to believe.

In 1996, astrakhan's Everything Will Be Fine weaved an improbable fairy tale: a wealthy Russian upstart returned to his hometown to build an entertainment center; His son won the Nobel Prize and returned to China, and fell in love with a girl who was going to get married. And other couples, old and young, finally came together. The film is timely, because it caters to the minds of "upstart" bosses too much and beautifies their images too much, which greatly reduces the artistic quality of the film. Although the film is good-looking, it doesn't attract much attention.

In 1998, the film "Moscow" did not cater to the psychology of "upstarts", but relentlessly aimed its criticism at them. In the film, the boring and empty images of "lovely" upstarts are vividly revealed. In 22, the film "Once in Russia" can be classified as a "upstart" film. The film is intended to describe Russian oligarch berezovsky.

American mythology has found the genre of westerns to express its 2-year history, and there is an honest chief executive fighting violent gangsters on the screen. And Russian film creators are also trying to build their own type brand-Russian upstart movies. Through the conflict between good and evil, American western mythology has sparked off a spark of national civilization and social norms in generate, which has become the symbol of American movies both in art and in thought. However, Russian upstart films have completely failed to find a suitable way to go. When building local brands, they unconsciously went to two extremes: either beautifying the "upstarts" in a mess; Or ugly them beyond recognition. Although these films have exposed the reality of Russian society to a certain extent, their overall quality is not high due to the lack of objective description, calm thinking and enough patience, and their "growth" needs to be cared for.

4. Waiting for the myth of "post-Soviet" genre movies

In Russia, there is basically no tradition of genre movies except comedies in the 193s and Gaidar's movies in the 196s. Therefore, "genre movies and horror movies with that charming villain as the protagonist have no foundation in our movies." In recent years, some people have tried to try these types, but most of them ended in failure. " [2] Todorovschi, an old Russian director, seems to disapprove of the genre approach of national films. However, the younger one