In the past few days, the evaluation of "Jia Ling's awesomeness" has been repeated countless times.
Her film "Hot and Hot" has reached a height that other films in the same period cannot achieve in terms of box office, word-of-mouth and discussion.
The miracle created by Jia Ling has reached an amazing level not only in the film industry, but also in the director industry, which is amazing.
I believe that female audiences will have a deeper feeling about the current results of "Hot and Hot".
This movie conveys more than just a ** story, it reminds girls to learn to refuse to please others, but to please themselves first.
In particular, the film depicts the situation of women facing various challenges, making it more relatable for female audiences.
In the past, domestic movies often focused the camera on the victim, such as the case of Le Ying being harassed by the owner of the barbecue restaurant.
As a female director, Jia Ling is more likely to start from a woman's perspective and put herself in her shoes.
In her movie "Hot and Hot", except for one shot focusing on Le Ying's gradually clenched fist, all the scenes are placed on the faces of harassing men, which is a direct face to male harassment.
The viewer scrutinizes his disgusting face and watches as the camera slowly progresses into the details.
Even more deafening silent accusations.
Jia Ling, who has excellent directing skills, understands that only by arousing the audience's anger at the perpetrator rather than sympathizing with the victim can more attention be drawn to the incident itself.
Her joy lies in the fact that in the face of harassment, Le Ying does not flinch when the other party approaches.
Her clenched fist was captured by the camera for one second, and the next, Le Ying's punch knocked that disgusting face into darkness.
The female audience felt comfortable and happy at this time.
They are deeply aware of the helplessness, fear and nausea that Le Ying feels when she is harassed, so they believe that fighting back is the best way to solve the problem.
Jia Ling's delicate handling of women's plight in the film can be said to be the key to the film's high box office.
In Jia Ling's comparison, on the other hand, looking at Zhang Yimou in the same period, his image has become less glorious again.
Both Jia Ling and Zhang Yimou were involved in filming sexual harassment clips, Jia Ling handled it properly, and there was nothing to find fault with, and Zhang Yimou's performance was full of male gazes, which made female viewers feel very uncomfortable.
Hao Xiuping, a deaf and mute person played by Zhao Liying, suffered ** in "Article 20", and this plot is obviously very eye-catching.
Wow, look at how many viewers' blood pressure will spike with this content?
Hao Xiuping's family is bullied by bullies themselves, and this plot becomes the only part of the movie that does not have comedic elements.
The audience never relaxes their hearts throughout the story.
However, no one could have predicted that the camera would specifically capture the details of Hao Xiuping's suffering.
Hao Xiuping's heartbroken face, as well as her two big white legs that flung helplessly in the air, and the scene of the suspenders crumbling against her chest when she finally appeared, and so on.
Aruna's bully walks out of the house with a satisfied look on his face while straightening his belt.
The cumulative effect of all these factors is the key to causing the audience's blood pressure to rise.
The important thing is not that this section cannot be filmed, but how to handle the lens properly is the most important thing.
When the director conveys the content, he also needs to have the ability to guide the audience's emotions in the right direction.
Obviously, Zhang Yimou did not do this.
He focuses almost entirely on the victim so that what the viewer sees is from the abuser's point of view.
This is bound to make some viewers, especially men, not only not sympathize with the victims, but instead stimulate their innermost sexual fetishes.
Zhang Yimou's failure to protect himself again is due to his habit of putting personal issues in the grand background, which is not uncommon.
"Man Jianghong" and "Solid as a Rock" are two film and television works that are relatively close. In both works, some of the female characters suffer **, and the camera deliberately focuses on their ripped clothes and desperate faces, requiring a special slowdown to show the plot.
The viewer really doesn't know what this shot is trying to convey.
Wouldn't there be more footage showing the perpetrator? Wouldn't that violate censorship rules?
The increasing number of masochistic scenes of women in the footage can have any effect other than arousing empathy and anger in the audience?
The director's act of forcibly whipped and force-fed the actors by their necks was already unpleasant, and it was time to stop.
It's a pity that once Zhang Yimou's film is made, it is impossible to ignore such a shot.
Speaking of more distant places, Zhang Yimou's "The Thirteen Hairpins of Jinling" can be said to be a lens marker film for his male gaze.
In order to stand out in the international awards and conform to the aesthetic standards of Western men, Zhang Yimou adapted the prototype of the role of the godfather from a woman to a man.
There is nothing wrong with reconstructing history, and there is no doubt that a large number of scenes of Japanese soldiers violating our women are depicted.
The audience endured ** in order to remember history, but what is puzzling is that the male protagonist as a righteous party actually had the idea of **. If his prototype is a woman, what are the considerations for Zhang Yimou to change it like this?
Zhang Yimou's movies themselves attach great importance to the righteousness of the family and the country, but he always uses the charm of women to attract the attention of the audience.
Zhang Yimou has challenged the audience's bottom line one after another, what action should he take next?
There is no doubt that as an internationally renowned director, Zhang Yimou showed his superb aesthetic at the grand opening ceremony of the 2008 Olympic Games, which impressed the global audience.
Later, he personally went to guide the Winter Olympics, once again showing China's beautiful style and letting the world see it.
However, he is unable to understand the feelings of women, and always emphasizes the image of the victim in his performances to highlight the hatefulness of the perpetrator, exposing the traces of his serious stereotypical male thinking.
If he keeps this uncomfortable shooting angle, he is destined to be eliminated from the film industry.
After all, in cinema, female audiences tend to be the dominant group.
If the film can't treat them fairly, or even deliberately slander them, how can it expect to get the respect it deserves?
Even if you don't compare Zhang Yimou with Jia Ling, and put it in the comparison of the same sex, his thinking is lost.
It is an undeniable fact that a film called "Don't Talk to Strangers" came out of nowhere, which caused a shadow on the childhood of many viewers back then.
The director is not only a man, but also has a knack for focusing the camera on the face of the violent man.
Some old men, even through the screen, can feel the hideousness and horror of domestic violence men, not just children.
Teacher Feng Yuanzheng played a domestic violence male character, who was questioned by his father-in-law's family after the series was broadcast, and was publicly abused by the audience in real life.
Even though many years have passed, Feng Yuanzheng has created many roles, and the audience still clearly remembers the role of the domestic violence man he played.
In interviews, his suave image once made the audience mistakenly believe that he deliberately performed.
The director's contribution was indispensable, so that the audience had a deep impression of Feng Yuanzheng's PTSD.
The audience felt uncomfortable seeing Feng Yuanzheng for a long time, but this only strengthened their antipathy to domestic violence, which has nothing to do with the actor personally.
Feng Yuanzheng's acting skills were verbally criticized by the audience, but in fact, from another point of view, his performance was recognized by many people.
The play has been a success, and that's it.
The audience's vigilance in choosing a mate has increased significantly, as the work emphasizes the inner core of the fight against domestic violence.
If Zhang Yimou directs this movie, the audience may only remember Mei Ting's face that was beaten all over by Feng Yuanzheng, and the poor little daughter-in-law who was ruined and controlled.
In the end, in addition to feeling distressed and sorry for the heroine, the substantive discussion of domestic violence is extremely limited.
There is almost no camera on the face of the domestic violence man, which is likely to lead to the foolish remarks of "how do you prove that the heroine was beaten by her husband".
Even without considering Zhang Yimou's accusations of gender discrimination, "Article 20" still fails to attract female audiences.
Because it contains a kind of plot, that is, a sense of powerlessness that cannot move the plot forward.
For example, a movie might add to the comedic effect by portraying Ma Li's wife as a cranky, headstrong persona.
Every day, she relies on some tiny clues to suspect whether her husband is cheating, questions him, and even constantly affects his important work.
The audience may find some sketch elements in it and produce laughter, but overall, this has little effect on the core expression of the film.
After watching it, the audience will only be confused, and they can't help but ask: What is the purpose of this scene just now?
* The plot of "Hot and Hot" is as tight and powerful as Jia Ling's ** body.
There are no superfluous lines in the whole film, and even the silence of every clip is excellent.
Haokun waits outside the boxing match, ready to take Le Ying to taste the delicious bullfrog, which is the most exciting ending.
Le Ying replied briefly: "Maybe another day, depending on the mood." ”
In Barbie, "Ken" needs to sing two songs to show the characteristics of a greasy, blindly confident and somewhat defense-breaking man, which fully demonstrates the character's personality traits.
This short reply "Another day, depending on the mood" is like the theory of ** and ** disease expounded at the end of the movie "Barbie", which summarizes the whole point.
After some questions and answers, it can be said that this method is simply a concise and subtle expression unique to the Chinese.
Some so-called directors in China are indeed not worthy of being her opponents, because their thinking ability is far inferior to Jia Ling.
I believe that Jia Ling will eventually be able to step onto the international stage, where she will not only win glory for China, but also become a shining star among female directors. Jia Ling