The Cruelty and Legality of War——The Moderate Way of "Assembly"

The concept of postmodern "discourse of power" has gradually become popular. We like to write papers to demonstrate the construction of legitimacy. First, it is relatively new, and secondly, it looks very smart. But after learning a little bit like me, when I went to write a paper, I felt that a small half bottle of water was not enough, but in real life, I was conscious of my eyesight, and when there was a clue, I was as excited as a cat that caught a sparrow and wanted to take it to the owner. It's good to show off. Who knows, maybe it's a silly cat with a bird's feather as an arrow, and the inspector thought contemptuously and sympathetically, "Alas, poor fellow!

" The brutality that is rarely seen in the anti-Japanese war films. In the past, the scene of "winning more with less" would be shown like this: the correspondent walked in, saluted, and said, "Report, just received the good news, the soldiers in front of our army successfully repelled the enemy's attack three times at a certain place, wiped out 3,000 people, and lost 3,000 people. 500 people.” At this time, the leader showed a passionate smile, slapped the table and said, “Good job!”

The description and conclusion of a war are just two numbers. How tall are 500 people and how many people are in the back, it doesn't matter in war movies, each dead person has only one symbol, and occasionally the camera sweeps over them, it is a head wearing a helmet, or running with a gun Blurred figure. The success of "Assembly" is that it restores these symbols to their names, characters and identities, showing both their tragic death and their symbolization - they are a pawn to contain the enemy, and they are The sacrifice of the head of the group is not counted, and it is also forgotten by the organization. The process of restoration is not simple, and it is also accidental. More people who died in action are still symbols, and "nameless" is written on the tombstone.

In our history books, the War of Resistance Against Japanese Aggression and the War of Liberation are constructed as such a discourse system: Victory with less is unstoppable, fighting spirit is high and the great ideal of liberating all mankind, long-term hardships but joys. Restoring the truth is deconstructing words. There is no passionate music or passionate romanticism on the battlefield. Some are blown up limbs, blood and flesh are blurred, and people are no longer human.

Any war is against humanity, no matter what its banners are. Perhaps the cruelty of war in "Assembly" implies the anti-human nature of war, or, as long as it takes a step forward, "Assembly" can become an anti-war film. Anti-war means anti-enemy, but also negates It does not dare to be so daring, so while deconstructing it, it also joins the ranks of legitimacy construction. In the film, Lu Kuangou describes the crimes of the landlord, and Guzidi is an orphan who survived the famine, although this is an understatement. A few strokes all demonstrate the justice and legitimacy of our participation in the war, and the cruelty is transferred to the enemy. The 3,000 dead bodies, even if they only end up as a symbol, deserved it, not to mention handing over their guns. What about the lenient policy of no killing?

Director Feng Xiaogang is an aspiring artistic young man, but he has achieved great success in directing comedy films. The transformation work "The Banquet" took a tragic line, telling a Chinese-style "Hamlet", but it won the audience's laughter; this time, he made up his mind to change the star system, use unknown actors, and then tell personal stories. Accidentally became the main theme again. The final product of the two films may not be satisfactory to the artistic young director Feng, but "Assembly" is much more successful than "The Banquet", so there is reason to believe: Feng Xiaogang, the next stop master.

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