Chapter 531 Is This Your Dream? (Superior)

As far as Li Qian personally judges, he believes that, to a certain extent, people like Shi Kuiyong are real geniuses, while people like himself with 30 to 40 years of life experience and knowledge, and who are nearly ahead of this era The "pseudo-genius" formed by the vision of twenty years is actually just the capital of the middleman in essence.

Genius is admirable and desirable, but it is also very helpless.

Going in the right direction, geniuses can make any impossible possible, but if going in the wrong direction, geniuses are rarely willing to stop, review and reflect on the path they have chosen, even if their heads are broken.

Everything stems from the paranoia of genius.

Paranoia is good and paranoia is bad.

Because he has a vision that is nearly 20 years ahead of this time and space, Li Qian clearly knows what direction the current society will develop. What will be the direction of development.

With this huge advantage of being close to a prophet, and to some extent even surpassing a prophet, Li Qian has an extremely clear plan in his mind for the future path of Minghu culture.

At this time, both Lu Lingxi and Chen Kefang were puzzled, Lu Lingxi was better, but Chen Kefang put on a half-smile and said, "You want to say that literary and artistic movies are dead?"

Lu Lingxi pursed her lips into a smile, turned her head to look at Chen Kefang, then quickly turned her gaze back to Li Qian's face - she was really curious about how Li Qian would answer.

This is not the first time she has heard such arguments, even from Li Qian alone.

Literary films are, or have become, synonymous with niche.

Back then, "The One-Armed Swordsman" filmed by Mr. Chu Yuan, with its distinctive image style and classically beautiful character portrayal, combined with clear and concise narrative techniques, became popular in the film market in the late 1960s. In the meantime, people in the rivers and lakes gave him the nickname "Chu Yidao".

Although this film and Mr. Chu Yuan himself were criticized by some big figures in the film industry at the time, they believed that such a film deviated from art and was something for the public to entertain, vulgar and shallow, with no connotation at all. But at that time, this movie swept across the country, and affected by it, martial arts novels, martial arts movies and martial arts TV series became an extremely important branch of domestic literature and film and television works in the next thirty years.

Thirty years later, the works of those big names in the film industry who criticized him at that time were no longer interested and could only be shelved. However, Chu Yuan was hired as a visiting professor at Suncheon Film Academy in 1981, and later became a full-time professor. , During the three years from 1988 to 1992, he personally served as the director of the Directing Department of Suncheon Film Academy. After retiring in 1992, he was awarded a tenured professor. The following year, he was invited to serve as the honorary president of Suncheon Film Academy.

Du Weiyun, the great director known as one of the troikas of domestic movies nowadays, is his private disciple. During the filming of "The One-armed Swordsman", he was one of the crew's directors. Du Weiyun's director style also largely inherited the advantages of the teacher. The great director Qin Wei, when he won the best director of the Cannes International Film Festival for the first time, made a speech and repeatedly claimed that he was Mr. Chu Yuan's "outsider disciple".

And not only them, during these years when Chu Yuan taught Suncheon Film Academy and served as the director of the director department, quite a lot of relevant talents have emerged in the film academy, and many of them have already emerged and become the backbone of the domestic film industry—— In recent years, Lu Lingxi from the 87-level director department, Wu Han from the 89-level director department, and Lu Ping from the 90-level director department are all authentic disciples of the old man.

As for the movie "The One-Armed Swordsman", since the end of the 1970s, it has become one of the models and teaching materials that major film and television art colleges in China must teach.

Even looking at it now, the quality of the movie itself is still exceptional.

What is even absurd is that even today, this movie, which was repeatedly criticized by countless literary and artistic movie stars, has been classified as a "treasure of domestic literary and artistic movies".

Which is it? Which is wrong?

There may be only one conclusion left: the more literary ones have been eliminated by the times. Therefore, those that are less literary and artistic, but more popular in nature, have survived and become the banner of art.

At this time, Li Qian did not answer the question, but said slowly: "The 1960s and 1970s were the era when European art films were popular all over the world, because at that time, the art of film was still in the exploratory period. Or movie audiences—of course, when we look back now, we should admit that because of the developed economy, the absolute number of people who could afford to watch movies back then was not too many—they are all very interested in movies. Practitioners, as well as the audience, have a supportive and affirmative attitude towards the artistic exploration of film, even if it is weird. But by the 1980s, this exploration had basically come to an end.”

At this point, Li Qian habitually spread his hands and pursed his lips, before continuing: "After twenty or thirty years of rapid development and active exploration, what is the boundary of the film is still blurred, and it still has a strong explorability , but as a tool of expression, some of the techniques commonly used in film have been basically explored and matured from the perspective of industry and art. At that time, the three major European film festivals were world-renowned because they It represents European films, and also represents the cutting edge of the entire world's film industry!"

Chen Kefang hugged his shoulders as he listened.

The corners of the mouth are slightly raised.

In a place like film school, it is not uncommon to hear this kind of discussion or exposition, but what is rare is that this time it is a student who has not yet graduated, talking in front of his two teachers.

And the problem is, although what Li Qian said has not been completely conclusive, it is no longer a new tone in places like film schools.

Some professors in the college are even more extreme than Li Qian. Some people simply think that the birth of the Venice Film Festival means that the exploration of European art films has come to an end. It's the same as autumn and harvest, so we need a festival to celebrate.

From this point of view, the Venice Film Festival was founded in 1957, then even the 1960s and 1970s can be regarded as the "brightness" of European literary films.

Therefore, regarding Li Qian's sudden tirade, as if he wanted to teach himself and Lu Lingxi a lesson, but what he said was not a new thing, Chen Kefang felt a little funny at first, and then felt a little displeased in his heart—these things are still used. You come to tell me? It’s hard to say anything else, can I know more about the history of film development than you? Are you here to teach me now?

But then, her arms holding her shoulders loosened unknowingly, and she suddenly felt startled, and then raised her chest with a serious expression——

"Literary movies will never die, but the market for literary movies is gone."

"European filmmakers have made a lot of explorations for the development of films, but the fragmented national boundaries in Europe and the fact that they have so far been difficult to form a full-category industrial system make it difficult for them to continue to develop films. It developed, so American filmmakers took over."

"They have a developed economy, a strong market demand, and a solid industrial foundation. Therefore, since the 1980s, European art films have been unable to beat Hollywood. Up to now, major Hollywood production companies have formed a complete film industry system. , until the recent "Titanic", which I participated in the soundtrack of, has in fact proved that all countries in the world, and all filmmakers, have no power to fight back."

"As far as I know, this movie has been screened in more than 100 countries around the world, and it has won the first place in the historical box office in almost all markets!"

"Movies are made for people to watch, not for self-enjoyment. Therefore, the box office is not absolute, but it is absolutely indispensable."

"Europeans have been proud of art films for many years, making it difficult for them to let go of their arrogance and take the commercial route. Even if they want to go, it's still the same reason. Their industrial foundation and market foundation are not enough. But our country is big. There is no need to have such a big burden. Although it has been very popular in our country to study European literary and artistic films since the early years, until now, there are still many directors, screenwriters, and actors in China who especially admire literary and artistic films, but really, I'm not that obsessed, and I feel like, I can't be that obsessed."

"Now, the major production groups in Hollywood are well-equipped, and they can mass-produce a lot of commercial films every year. These films are not artistic, but they are well-made, with special effects, special effects, very good-looking, and popular stories. Easy to understand, exciting, popcorn movie! Enough to make audiences from all over the world pay for it! Europe has been completely fallen, and Japan is similar. It has become a big ticket warehouse in Hollywood. It’s just a year or two of hard work.”

"Our country is tough, dare to stand up to the United States and not let go of this market, and only give them a quota of 20 movies a year, but look at the statistics, they only come in 20 movies a year, killing so many domestic movies. I have thrown away my helmet and armor for many movies, and I am completely powerless to resist!"

"Besides, even if not a single Hollywood movie is included, our country's economic development has been so fast in recent years, and the progress of domestic movies has simply failed to catch up with everyone's consumption appetite."

"In the long run, we can't always guard our own three-acre land! The US market is huge. Considering the global nature of English, its market is indeed huge, but the market for our Chinese-language movies is not small. Ah! With so many people in the country, once the economy reaches a new level, what about a billion people? How big will this market be if it is fully developed? Add in Japan, South Korea, and Southeast Asia in East Asia? I think these places should naturally be The back garden of Chinese-language movies, Hollywood has not had time to completely take it, we should take it down, Hollywood has already captured it, we have to take it back!"

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