This year's Spring Festival stalls are simply burning! The box office soared, and word of mouth resounded in the sky, as if it was an unparalleled victory! However, the story behind it is not as good as it could be.
8 billion box office! Eight billion! What is this concept? This number is eye-catching and dreamlike. Yes, the box office of the Spring Festival stalls has exceeded 8 billion, refreshing the highest in the history, and it is simply a win! This victory looks simply wonderful!
However, don't rush to orgasm. Let's savor it slowly. This Spring Festival stall is a victory at the box office and a victory for marketing, but what about movies? Only the movie didn't win. Did you hear that? Only the movie didn't win.
First of all, the excessive involution of the market is stunning. There are 8 movies in the schedule, and 4 of them are temporarily withdrawn! Isn't this the "Twenty-Eight Law"? Winner takes all, and what about the audience's choice? but it was invisibly plundered.
Secondly, the convergence of movie themes is touching. Several blockbuster movies turned out to be family carnival genres! A large number of comedians were invited, and they all took the route of laughter and tears. yes, can everyone just hover between boxing, racing, and emotional speeches? This is an interesting topic.
Finally, the lack of cinematic aesthetics is doubly disappointing. Movies should not only be a product of commerce, but also the crystallization of art. However, when the box office has reached billions, artistry is inevitably infinitely compressed. The creation of the film itself seems to be standardized, shooting according to a standard, there can be no blood, no dead people, the jokes must be specified within three minutes, and the reversal cannot be less than half an hour. It's like a massage chair in a movie theater that provides an accurate emotional massage, but it can't really shock people.
Take a look at Jia Ling's "Hot and Hot". It can be said to be an excellent ** documentary, a textbook marketing example. However, from the perspective of film art, it is at best an extended version of the sketch. Look at Han Han's "Flying Life 2", which completely gave up self-expression, but filmed the best of his career, how ironic. is even more exaggerated than Zhang Yimou's "Article 20", which gave up his paranoia about color and made an easy-to-understand "TV movie".
In the dimension of Chinese cinema, cinematic aesthetics represent various techniques for Chinese elements. Fei Mu, Hou Hsiao-hsien, Hu Jinquan, Tsui Hark, Zhang Yimou ......They are all adherents of Chinese film aesthetics. However, it seems that there has been a radical shift in the film industry now. Commercial films are popular, and aesthetics are shelved. The original intention of film creation has been forgotten, and only the only thing left is to make a product that satisfies the public.
The "romance" of Chinese cinema is dying out and is moving towards the "fast food era". The audience's aesthetics can be manipulated, and the public's preferences can be collected, but a really good movie needs more elements. The aesthetic art of cinema is gradually being lost, and this is something that every film lover does not want to see.
It is hoped that Chinese films can return to the true path of art, instead of being swallowed up by the torrent of commercialization. May we be able to see more excellent films with depth and connotation, not just those commercial films that are just a bit of a show.