These words are not purely touching words, but a strong understanding of the shooting techniques of this Korean disaster film, so as to make a superficial reflection on Chinese disaster films.
Today, disaster films are no longer a new type of film, and almost every country with a little power in the world will get involved in it, but the quality of the films is different and uneven. If it is the most outstanding, in my impression it is the United States. Whether it is the restoration of reality, the fidelity of props, or the sublimation of the theme, Hollywood movies have reached a very high level, and they are at the forefront and cutting-edge in terms of quantity and quality. position, which will not be repeated here. The key point is, why is the theme narrative about disasters, but the shooting effect of our films is always unsatisfactory, often falling into the embarrassing situation of "the main melody sings all the way, and the public dismisses it"?
I think this disaster movie "Influenza" shot by Koreans can give us some hints, and the most worthy of reference is that it shapes the characters according to the standard of mortals, so that the full picture of human nature can be fully revealed, and the human beings can be fully exposed. Emotions are described and portrayed in the main position of the development of the plot, which makes the story more intimate and flesh-and-blood, prompting the audience to gradually integrate with the plot in an immersive viewing experience.
It can be said that all the characters in this movie are not perfect, and they all have such and such shortcomings: the hero, firefighter Jiang Zhijiu, will be a little "fake public and private" in the rescue in order to pursue beauty (hold tight to the heroine and wipe oil); heroine doctor In order to protect his daughter, Jin Renhai can have no big intentions (sneaking his sick daughter into a safe area); although President Shuai has a heart for the people, his ability to oversee the overall situation cannot be praised. The congressman and others were restrained until the microcosm broke out at the end, turning compassion into strength to save the mess; the brother of the smuggler was portrayed as having no sense of social responsibility, and to avenge his brother, he stabbed to death a Thai child with virus antibodies ; Others, such as the hero's firefighter buddies, the heroine's doctor colleagues, the wicked commander in the security isolation area, the prime minister, parliamentarians, and the young soldiers who were infected and saved their mothers, etc., are all selfish, all of them Not advanced typical. But this is also an important factor for the success of the film - the defect or imperfection of the characters, on the one hand, promotes the development of the plot from the narrative clues, on the other hand, from the portrayal of the characters, it is close to the heart of the audience, so that the whole story can be be more vivid, fresh and full.
In stark contrast to this, domestic films are often habitually ignored in this regard. Whether it is earthquake relief, firefighting, or plane landing, in domestic disaster films, we can almost always see a "Gao Daquan" protagonist. He (or she) can give up the ego to achieve the big ego for the sake of the whole, and can do it for the sake of the public. Righteousness and morality disregard personal feelings and act like a savior, thus eulogizing the perfect social hero with a majestic symphony melody, and advocating the mainstream values of society with a mournful and fearless spirit. However, this will only take the story further and further away from the audience's heart, because they see only a saint who is the opposite of their logic, not a mortal who resonates with their thoughts and feelings. Such movies often leave audiences with only a moment of admiration and emotion, but they cannot get sympathy and reflection for a long time. It can be regarded as a near-successful film work that can make the audience think, think, and be moved and thoughtful.
In fact, all of these have been discussed in relevant academic discussions in the past. The problem is that once the film practice is reached, we cannot always integrate theory with practice and better implement the people-oriented shooting concept. I think the reasons are as follows:
First, it is difficult to break through the missionary method of value advocacy. Advocating mainstream values itself must be affirmed, and any disaster film should fundamentally focus on the expression of truth, goodness and beauty. However, due to the long-term facialization of Gao Daquan's characters, we have become accustomed to a positive and flawless narrative mode in terms of thinking expression and shooting techniques, and have not mastered other shooting techniques that are more in line with the characters' emotions and full of artistic aesthetics. The path dependence of the subject expression is formed, and the simplification of shooting methods objectively makes it difficult for us to solve the problem of skill panic for a while. In this regard, only by actively exploring and trying with broader ideas and bolder breakthroughs can we make progress.
Second, the ideological environment for artistic creation needs to be improved. Taking "Influenza" as an example, one of the main reasons for the poor emergency response in the story is the unscientific public decision-making, which is obviously an aspect of the film's intentional satire. In contrast, domestic disaster movies seem to be "always correct" in the public decision-making process. Even if they encounter a dilemma, they are mostly the protagonist's hesitation and hesitation when faced with a life-and-death decision similar to "loyalty and filial piety". And this kind of scene design that is too bright and snowy is difficult to get a lasting and profound resonance from the audience, and the repeated appearance of similar plots also causes the audience's aesthetic fatigue and cannot be deeply rooted in the hearts of the people. In this regard, film creation should be treated with a more tolerant attitude, allowing "human error" in some plot links such as public decision-making in fictional films that "should be absolutely correct" - art is not reality after all, and its virtualization to a certain extent not only It will not cause social distortion, but will help the dramatic development of the plot, the emotional shaping of human nature, and help us to think more deeply and strongly, thereby sublimating the film's rebuke of evil, praise of goodness and introspection of human nature. , and finally achieve the original intention of art to advocate truth, goodness and beauty. Just imagine, the literary works of serious domestic writers such as Mo Yan, Yan Lianke, and Wang Yuewen have already criticized the social status quo and reflected on human nature. They have been recognized and accepted by the society. real? In addition, whether it is "Influenza" or a Hollywood disaster film, its open-mindedness and social tolerance are far greater than those of domestic films, but how many films can we pick out and criticize the mainstream theme?
Third, the narrative perspective of "socialization" is not popular. This is also the most worthy of reflection and change. Domestic disaster movies often preconceived that the characters are first shaped in the big environment of the country and society, but they forget that whether they are national heroes or loners, their first characters in the world are by no means "social people", but "Family people" or "individual people", before they shoulder the heavy social responsibility of public morality, they first shoulder the individual responsibility of protecting their families and guarding their true feelings. Even Confucianism, which is a traditional Chinese culture, advocates the ethical logic of "cultivating oneself, aligning the family, governing the country, and bringing peace to the world". However, in the narrative of the film, we put great emphasis on "governing the country and bringing peace to the world", but how the protagonist "cultivates one's own body and balances the family" is not. Inked. In other words, when we haven't properly dealt with the small problem of the role "economic person", we have already focused on solving the big problem of their "social person". In both China and the West, the two-sided imbalance of this kind of character portrayal is against the laws of theory and common sense of human feelings, making the hero "popular" insufficient and "immortal" unreal, and eventually becomes a film with weak emotions and empty thoughts. , A moral film that is not down-to-earth, has no secular temperature, and is overly idealized.
Returning to "Influenza", this Korean disaster film is not perfect, I even think it is lacking the mainstream value that we are best at. Refugees smuggled in to support their families, heroines risk vaccines for their daughters, heros sacrifice themselves for love, little girls dare to face guns and guns for their mothers, soldiers violate discipline for personal love, all kinds of bad guys kill and set fire for their own sake, etc. ). I think that in the real world encountering a flu crisis, relying on these personal relationships will not last long, or even difficult to operate. I also don’t agree that personal relationships are the most important in reality. However, as a movie, it makes good use of the most uncertain "variable" of human feelings, narrates the story with ups and downs, and portrays the characters vividly. Even if some of the plots are designed to be a little out of reality, they make up for it by amplifying the appeal of family affection and love. These are the most real aspects of human nature, and no matter how ugly they are, they all come from ordinary hearts. One of the unique features of human beings is that we are such a complex emotional animal, we can cry, laugh, be sad and happy, and express all kinds of mixed emotions in rich, diverse and completely different forms. It is the true nature of being a mortal, the foundation of being a superhuman, and the practice before becoming a saint.
There is still a long way to go for domestic disaster films. In addition to the above, there are also issues such as special effects funds (in fact, there are almost no special effects in the big production of "Influenza", so it shouldn't be too expensive, so I'm too lazy to talk about it), but stick to what people want and insist People-oriented should be a persevering basic principle in the creation of film art. I'm not a professional film critic, but I feel it. These words are written only out of the kindness of an audience member.
In short, in the face of disasters, even in the face of other types of movies, whether it is true or false, small or big, please allow us to face it with a sincere heart, because in front of emotions, we are all mortals.
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