Chapter 8 Asian Growth Movies (1)

Asian Growth Movies (1) The film industries of China, Japan, South Korea, Iran and India occupy a considerable position in the world.However, despite the high output of Indian films, the themes of most films have nothing to do with the theme of youth growth. Even if there are, the author does not understand, so I put it aside.Apart from these, the other four growing-up films representing countries are quite artistically objective and socially significant. The outstanding works of Chinese growth movies, from "Flowers of the Motherland" and "Little Soldier Zhang Ga" when mainland movies were sprouting to "Sunny Day", "Seventeen-year-old Bicycle", "Long Grown Ups, With You, Green Red, and Hong Kong and Taiwan's A Brighter Summer Day, The Blue Gate, all show the growth process of growing-up movies with great power.China's long historical and cultural heritage and the changing political climate in modern times have imbued China's growing-up films with a rich social color. Leaving aside the faults caused by the influence of the Cultural Revolution in the early years, this rich social color has changed from the single patriotic in the past You can get a glimpse of the changes in the subject matter of multi-level and multi-faceted works from socialist heroism to the present.Whether it is the dogmatic "Flowers of the Motherland", the decadent and confused "Growing Up", or the youthful and emotional "Sunny Day", and the so-called brutal "Murder of Juveniles on Lingling Street", "Youth", "The Blue Gate" with a youthful petty bourgeois sentiment, and even many underground movies that we hardly know, all reflect the changes in contemporary Chinese society on the growth of young people from different aspects. imprint.The best in my opinion is "Sunny Day".Whether it is from pure film technique or refraction meaning, including the appreciability of vulgar and refined tastes, "Yang" as a debut work can achieve such a height is really a display of the director's talent.At the same time, Guo Wenjing's soundtrack and Gu Changwei's photography are both highly artistic, which is not available in other growing-up movies.

In addition, some Chinese coming-of-age movies retell the state of youth in the past era in the form of memories, typical examples are "Sunny Day" and "Blue Red".The author believes that an era has passed, and standing on the shoulders of another new era and overlooking it, the eyebrows are clearer.Therefore, such films usually have high artistic value and are favored by international judges.However, this is also a pity: the reason why we can only reproduce the youth of that era in the form of retrospect today is because there are too few movies that express the true face of that era.

Due to the variety of themes and forms, it is difficult to summarize the characteristics of Chinese growing-up movies.All in all, it represents the projection of various changes in this big country on young people in a relatively long period of time. From the closedness of the country to the opening up, growth movies also show a corresponding parallel expression. Japanese coming-of-age movies, with its authentic and powerful cruelty as a distinctive feature (almost makes Asian audiences use it as a synonym for growing-up movies), highlight Japan's brutal national roots and social outlook.From this perspective, Japanese brutal growth movies are still very reflective.

The impression that Japanese movies give people always seems to be very extreme. There can be pure love movies such as Xingdingxun "Spring Snow" and "Calling Love in the Center of the World", as well as Nagisa Oshima's "The World of the Senses" and Shohei Imamura's "Red Red". Erotic movies like "The Warm Current Under the Bridge". However, the brutal features of Japanese coming-of-age movies are very prominent. Nagisa Oshima, Shunji Iwai and Takeshi Kitano contributed to this impression.Recently, Akihiko Shiota's "Canary", "Moon Song", "Road to the Underworld", Fukasaku Shinji's "Battle Royale", Hirokazu Kore-eda's "Nobody Knows", etc. have repeatedly reinforced the theme of cruelty, but The plot environment where the theme is placed is slightly variable, not limited to girls in sailor suits doing compensated dating and gloomy and autistic boys, but more social projections are reflected (such as the 1980s and 1990s filmed in 2005 "Canary," the story of a homeless teenager brainwashed by Aum Shinrikyo).

Japan is an incredible country.The loyal soldiers who advocate Bushido are also ravaged like donkeys in heat, and Jie Ya is keen on tea ceremony, kendo and flower arrangement, but he also likes to dissect pregnant women, release anthrax and kill contests.The madness and destruction of the Chinese Communist Party, the miraculous recovery of the post-war economy, and all kinds of extremely sharp contradictions under the humility of social expressions have created too many invisible and degenerate atmospheres and conditions for teenagers in this developed society.The problems of Japanese teenagers in the movie basically come from society and family, which is steeped in national character and misled to a certain extent by the media.