"Red Sorghum" uses a brand-new art form to depict the simple and wild life of a group of farmers in China in the 1920s and 1930s, as well as their bloody battle with the invaders. The plot structure of the film is very dramatic, and it praises the freedom of life through character creation. Love is true love, hate is true hate; great love, great hate, great life and great death. The plot is twists and turns and unexpected, but its film language is inherent to "exploration films". The rhythm is bright, compact, and relaxed, and the images, colors, lights, and the visual images they constitute are vivid and intense.
After the late 1980s, the rapid changes in the Chinese film market made it difficult for high-profile "exploratory films" to continue. China's middle-aged and young directors are becoming divided in their artistic pursuits. Some directors have made films that combine exploration and viewing. Among them, "Black Cannon Incident" directed by Huang Jianxin and "Red Sorghum" directed by Zhang Yimou are the most representative works. "Red Sorghum" uses a brand-new art form to depict the simple and wild life of a group of farmers in China in the 1920s and 1930s, as well as their bloody battles with the invaders. The plot structure of the film is very dramatic, and it praises the freedom of life through character creation. Love is true love, hate is true hate; great love, great hate, great life and great death.
2. Audio-visual language interpretation.
The depression and suppression of Eastern culture have a great negative impact on the Chinese. The humiliation and pain of the past century have made both the government and the public tend to be overly defensive and easily resist all foreign values. Resistance and confrontation are the dominant ideas in thinking about foreign relations. Seclusion and seclusion are just negative choices when there is nothing you can do. With its strong colors and bold style, "Red Sorghum" appeals to the exciting national spirit of the Chinese nation, and launches a powerful attack and challenge on traditional concepts and stereotypes in the form of film. It integrates narrative and lyricism, realism and freehand brushwork, and brings into full play the unique charm of film language. Various awards at home and abroad are coming one after another, and Chinese films are becoming famous internationally and going global. Due to his gifted sensitivity and understanding of audio-visual language, Zhang Yimou is a photographer, actor, and director, and has achieved excellence in all aspects, creating a rare miracle.
1. Analysis of important paragraphs:
⑴Bumping the Sedan:
A group of young, strong, muscular men, with exaggerated movements and shapes, and the vast, traceless and extremely pure orange-yellow land and smoke, The warm and full red hijabs and sedan chairs, as well as the unruly and earth-shaking shouting and singing, perfectly blended together to form an exciting audio-visual effect. The yellow land and background are very bright, light and comfortable. The main characteristics of yellow are brightness, reflectivity, brilliance and cheerfulness and brightness that are not its essence.
"Bumping Sedan Song" and "Sister, Go Boldly Forward", each sound seems to spurt out from life, the northwest's human feelings, northwest's style, northwest's style, northwest's roughness and strength, It overflows vividly in the time and space of the movie. Free and wild, unrestrained, sacred and games, life and entertainment, youth and heroism are perfectly combined. People are active and full of flavor according to their nature. From content to form, they are soaked in the poetry and praise of freedom. The film language and the capture and tailoring of life are novel and charming.
Rumping sedan chairs and offering sacrifices to the God of Bacchus were customs in Shandong in the early years. The author of the original work has not seen the specific details, but older people have heard of it. In his novels, Mo Yan was able to use his imagination and use words to construct a wonderful folk world, which aroused strong responses among readers. In his films, Zhang Yimou used audio-visual language to create a pleasing screen world, which captivated international movie fans and received enthusiastic praise.
⑵ Yehe:
The sorghum that Grandpa stepped down formed a circular altar. The union of the two sexes is endowed with a sacred and inviolable meaning, and the process and purpose of life are highly unified. The fiery red sorghum, painted golden by the sun, dances wildly, and the sound of the suona rising from the ground is earth-shattering, like cheering and praise. Praise the free stretch of life and yearn for the great glory of living.
“The purpose of learning must ultimately be implemented in being a human being, and it must make people live more energetically. ... Your life state must first become warm, lively, and vigorous. Dare to hate and dare to Love, dare to live and die, and the descendants born will also be fat boys of nine and a half pounds. They cannot be full of culture, but they live more and more weakly. ""Chinese people have a big problem. They talk about why people live every day, but they don't. Just don't pay attention to how people should live.
"①
"Red Sorghum" uses an extreme scene to express a simple thought - people are first and foremost human beings and creatures that belong to themselves first. The awakening of human subjectivity is very important for a society. Democracy and progress are crucial. The elimination of individuality and self means the non-existence and meaninglessness of everything to me. People have normal desires and needs as human beings, and the process of satisfaction is like a kaleidoscope of life. It embodies the diversity of human nature. When unreasonable things prevail, reasonable things are often doubted and even devalued. Selling one's body and soul for money and power is not normal, but in some places it is a matter of course and commonplace. . If you put aside the actual material conditions and snobbish pursuits, you will be ridiculed, ridiculed, and questioned. Correct concepts and thinking make people live out their enthusiasm and strength.
⑶ Anti-Japanese:
The continuation of life is a process full of contradictions, confrontations, compromises, and unity.
Jiu'er, who is young and beautiful and stands at the beginning of life, must obey her father's arrangement and marry a leper. The sick old man Li Datou, because of Li Datou's economic prosperity, Jiu'er's youthful vitality and his father's inhumane treatment, the ordinary people's routine and the wanton attacks of bandits, the Chinese people's daily life and the violent trampling of the Japanese invading army... The Anti-Japanese War is the core of China. The Chinese people paid a heavy and incomparable price for the tragic sufferings they experienced in their struggle for survival. The Anti-Japanese War is an endless history of Chinese films, literature and other art forms. The capacity of three books is to describe the tragic and violent side of life when it encounters abuse and destruction.
"Red Sorghum" is not written for the sake of writing, nor is it simply limited to the people who have the power to fight against Japan. The old man with leprosy, Li Datou, and the armed Japanese invading army are both a symbol, the opposite of healthy development, freedom and happiness, a hostile factor for lively life to rejuvenate, a symbol of dilemma, and a symbol of the confrontation between development and obstacles. This is a special feature of the director's handling of similar themes, and it is also what makes him unique and unusual.
① Zhang Yimou's "Director's Explanation of "Red Sorghum""
Both. Make people feel like it, but also make breakthroughs. The use of film language, whether visual or auditory, should find a balance between legendaryness and realism, and not stick to one method. The true restoration of sound and picture is not the ultimate goal. , the important thing is to create a considerable impact on the audio-visual experience, making the audience moved, moved, and used their brains. Impacting the audience, mobilizing the audience, guiding the audience, and respecting the audience are the director's dominant ideas clearly reflected in the film language practice. The praise and discussion aroused at home and abroad have shortened the distance between the film and the audience, which has fundamentally guaranteed the commercial value, cultural communication and social benefits of the film.
⑴ Image styling: strong. , distinctive, unconventional.
The picture is the materialized form of thinking. Zhang Yimou said: "The reason why I shot "Red Sorghum" vigorously and flamboyantly is to show a joyful attitude towards life. , to express the simple and simple truth that "a person lives with one breath, and a tree lives with a skin". Only in this way will the people's character be stimulated and developed, and the national strength will be strong and everlasting. ” ① The pictures and sounds of "Red Sorghum" create a unique feeling. The characters are full of vitality, strong movements, and brave and public. Mo Yan writes about people in novels, and Zhang Yimou writes about people in movies. Characters and structure are combined, and the two protagonists fight against tradition. He has a very generous and open-minded personality, full of vitality in life and death, and the freedom and joy of being a human being as he pleases. "I just want to use movies to influence people. People will not stay on one level, and the same is true for movies." , I hope there will be a variety of movies to stimulate various thoughts. "(Zhang Yimou's words)
The mature sorghum is two to three meters high and majestic, surging and swaying like waves with the wind. The screen is full of flying and flowing vitality. "Red Sorghum" has a strong image shape , distinct, unconventional, profound truth, concise expression, expressing thoughts in a relaxed and natural way, pursuing a cinematic and artistic narrative method, shooting sorghum dancing wildly in the wind in a small distance, trying to bring sunlight into the picture , the bright sunshine dances and flickers between the sorghum trees, dyeing the dark green sorghum into a golden color. The sorghum is full of energy in various changes of light and angle. The translucent and crystal sorghum in the backlight is fresh in the wind. The stretching conveys the vitality and charm that the director deliberately highlights, and makes the sorghum look humanized and natural.
The condensed and freehand lens language of "Red Sorghum" is an outstanding example of the profound influence of the spirit of Chinese classical aesthetics on contemporary films.
"I like condensed art and expressive art the most." "I am from Xi'an, and I particularly like the Chang'an School of Painting. Zhao Wangyun and Shi Lu painted the Loess Plateau, with thick chunks and many dry brushstrokes. They use ink as color and large strokes to outline, fully expressing the sense of history, heaviness and dryness of the thousands of ravines in northern Shaanxi, which is absolutely not like the smoky Jiangnan scenery. I went to see the tombstones of Maoling and Huo Qubing. Carving, a flying stone will tell you whether it is a tiger or a horse, how big the Qin bricks and Han tiles are, the Qin opera is vigorous and rough, and even the snacks in Shanxi are more elegant than other places! It has a great influence on my aesthetic taste."①
Actors are the most attractive people on the screen. Appearance is the material manifestation of the inner being, and the difference between farmers and urbanites goes beyond clothing. Before shooting, the overall style and feel were taken into consideration. In order to look like and wash away the fat and rosy air of urbanites, we first let everyone tan and lose weight to add a sense of wind and frost. As a result, the characters in "Red Sorghum" have strong impact and strong visual creation, leaving a wide and deep impression on audiences at home and abroad.
Zhao Jiping said: "Zhang Yimou's artistic sense may seem inconspicuous to you, but when it comes to the screen, he is a master in terms of styling. Each of his films is different. But he can make a complex thing simple, so simple that he can grasp the most critical thing and explain a profound problem in the most concise language. This is his greatest advantage, greatest characteristic, and also his genius. ."
Color meaning: red is the main tone.
Fierce and powerful red is the main tone of the entire film. Gu Changwei is a first-class photographer who gives full play to his sense of color and pays attention to the unique visual instinctive power of color. The protagonist wears red clothes, and the final scene is all red. Not only did the sorghum turn red, but the sky and the earth also turned red, as red as blood and fire. Red represents revolution and symbolizes enthusiasm. Enthusiastic attitude towards life and extended vitality of life. Faced with the trampling and ravage of evil forces, individuals and groups resist in the most primitive and essential way, even if the disparity in power is incredible. "Red Sorghum" celebrates life through the special application of color. Intensive use of the inner connection and tension of color gives the audience a concentrated and profound visual impression.
Red appears in position 1: adventurous, intense experiences, pursuing excessive sexual behavior to resolve disappointment and loneliness. I hope to gain rich experience and pursue a fulfilling life through my own actions. Red represents vitality, nerves, secretory gland activity, and represents tangible desires. The urge to achieve goals and achieve success, hope that life will be colorful and that you can gain rich and colorful experiences from all aspects. Red is stimulating and competitive, ranging from sexual abilities to the ability to transform nature. Positive action, sports competition, fighting, competition, eroticism, enterprising, productive and other behavioral impulses. Symbolizing the blood of conquest, igniting the fire of the soul, sanguine character and masculinity. Sensationally it represents appetite, emotionally it represents hope, and physically it represents voluntary muscles or sympathetic nerve regeneration organs. In terms of time, red represents now.
The natural scenery of red flowers and green leaves shows that life itself is rich and colorful, and no single element or color can be all-encompassing. "Red Sorghum" uses red as the main tone, but also organically modulates other colors, forming a rich color ideographic system. The vast warm yellow area in the sedan chair section, yellow land, yellow smoke, yellow skin, various modeling entities, and space sections naturally express various tones at will. Yellow is a typical human color, containing centrifugal original tension full of wild and manic stimulating intensity. The color is plump, thick, solid and powerful. Some paragraphs are dominated by yellow, and the red hijab, sedan chair, and red bride become the center of beauty. Poverty-stricken lands and backward people breed great passion, desire and vitality for life. Unless hindered, yellow expands infinitely, indicating relaxation. In psychology, it means freedom from heavy loads, difficulties, problems, distress, and restraints. Yellow symbolizes the warm sunshine, which makes people happy and happy. In terms of feeling, it is comfortable and stimulating, and in terms of emotion, it is full of hope and joy. Physically, it is the simultaneous action of sympathetic nerves and parasympathetic nerves.
In the section about bumping the sedan chair, choosing yellow for the first position means longing for liberation and hoping for more happiness. It also means that you will encounter entanglements when seeking liberation.
In order to achieve a certain level of satisfaction, there must be a sense of stability and connection. Yellow represents movement toward the future. The yellow color is obviously emphasized, and there is a desire to get rid of the current difficulties. Yellow means that you want to be valued and respected by others, cherish time, pursue your own ideals, and want to develop outward without stability. Yellow represents the changing director's concept of life and death, which is presented in the film in a colorful way. The wild scenes are thrilling and emotional, and the ending of the film is full of blood and justice. Life and death are sacred, and the shooting of the scene is full of ritual. The colors of the sorghum field in the scorching sunset are bright and warm. At the end of the film, there is a solar eclipse. My grandfather and father, and the entire space are bathed in the colors of blood and the sun, and there is a silence that solidifies into eternity. The visual shape is magnificent and infinitely gorgeous.
3． The pursuit of ornamental value: the development of dramatic space and the constant changes in audio-visual effects.
Since its inception, movies have conquered novelty-seeking and curious humans with its entertaining side. Louis Lumière's photography technology restores the exquisite verisimilitude of reality, Georges Méliès' dramatic elements are injected into the image to give the film a stronger expressive power, Griffith, Eisenstein, Spielberg, Zhang Yimou, generations of Chinese and foreign celebrities Directors and technical masters worked hard to make the film look better. Movies are for people to watch first, and the pursuit of viewing value comes first. No matter how good the idea is, if no one appreciates or appreciates it, it means nothing. Since the new era, Chinese directors and filmmakers have paid more and more attention to this point.
In the nearly century-old history of Chinese films, the emphasis on viewing value has also been a valuable step-by-step process. However, after liberation, the leftist line interfered, and the pursuit of ornamental value was impacted and restricted, and development was relatively slow or even stagnant. In the new era, a lot of waste is waiting to be done, and attention and research on ornamental aspects account for an increasing proportion. Good looks as a basic condition are no longer doubted.
The color blocks of "Red Sorghum" rotate and jump, and the music is full of inspiration, causing a radioactive impact on the audience. They even stay away from the kiln site of the dramatic plot and directly enter a specific modeling space for a pure emotional experience. The plot that has supported the movie for many years is no longer important. The crutch of drama is unknowingly put aside. The story is just your way into the movie. After entering, there is an appreciation space where the story and plot cannot be framed, and the unique audio-visual effect itself is endlessly charming. The extremely laissez-faire and uncontrolled styling and audio-visual effects realize the desire for free natural life forms and the complete solution to infinite oppression. In Zhang Yimou's subsequent film creations, he has always maintained his persistent pursuit of good-looking films. Due to his excellence in quality and artistic accomplishment, his films contain intriguing meanings behind their good looks, and they have become a beautiful scenery that cannot be ignored in the world of film circles.
The special significance of viewing and spectacle to movies cannot be doubted. The current application of high-tech technology has given movies everlasting artistic life and satisfied the audio-visual charm that people cannot get through TV and other media at home, allowing cinemas to continue to develop and improve amidst the ups and downs in the number of audiences. Zhang Yimou's works tell us: the beauty and appreciation value of movies are not just a miracle of audio-visual technology, but also a miracle of human thinking and vision. Over the past 100 years since the birth of film, the pursuit of film viewing value has created a large number of artistic masterpieces and left a magnificent and splendid cultural heritage for human society.
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