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The movie white-haired girl, as Uncle Zhao said earlier, is coming.
At the end of the movie "White-haired Girl", the joy of hiding in the cave was saved by the senior brother, who brought her good news: "Uncle Zhao said earlier (the Red Army) is coming.

The white-haired girl originated from the hero "Xi 'er" in the folklore of the Shanxi-Chahar-Hebei border region. She became a young white-haired girl because of the persecution in the old society. As the name suggests, she is called "white-haired girl".

65438-0945, Lu Xun Art College in Yan 'an collectively created the opera "White-haired Girl". This is a literary work with far-reaching historical influence, which was created in War of Resistance against Japanese Aggression, a liberated area controlled by China in the late 1990s. This opera was later adapted into various art forms and lasted for a long time. After the founding of People's Republic of China (PRC), the literary and artistic works created in this special period became the treasures of China's intangible cultural heritage.

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The reason why this film can become a "model" of the "Seventeen Years" film in New China lies not only in its skills, but more importantly, its skills can serve its contents and goals well. Between ideology and folk ethical narration, between revenge and revolution, between love and politics, movies need to make a choice. Although it is not an either-or choice, it is still up to the director to decide which is more important. After all, political discourse, mainstream culture and Yan 'an literary tradition dominate.

Therefore, in order to highlight the theme of the film, love must serve politics, revenge must be transformed into a struggle between two classes, and folk tradition can only gain practical significance under the banner of revolution. Thus, the love between men and women, class hatred and revolutionary struggle have all become one thing in this film.

To sum up, just adapting from a classic opera cannot guarantee the success of the film, nor can the theme of revolution and class struggle make the film conquer Chinese and foreign audiences. The director's rewriting of the motif of love and revenge, and the collusion between traditional folk narrative and the May 4th literary trend are the fundamental reasons for the success of this red classic.