At that time, it was the representative of the fourth generation of directors, the golden age of director Xie Jin's creation, Tian Yun Legend, furong town, Garland under the Mountain and Herdsmen ... Every film was watched by hundreds of millions of people at that time (converted to now, it is equivalent to more than 4 billion box office per film). After more than 30 years, these old films have been discovered by young people now, and they are still closely related to people's lives with their sincere narratives and deep feelings.

However, a so-called "film critic" launched a so-called "criticism of Xie Jin's mode" in the newspaper, branded Xie Jin's films as "old aesthetic consciousness" and "film Confucianism", and even more viciously declared that Xie Jin's films were "a serious imbalance in China's cultural transformation" and "forced the audience to accept Hollywood-style moral myths".

Such a strange story has won the positive response of a large group of film critics, waving flags and shouting. When they turn black and white upside down, they advocate the theme of a movie, which can neither carry forward the traditional virtues of the Chinese nation, otherwise it is "feudal consciousness, opposing reform", nor can it tell a story smoothly for the audience to like, otherwise it is "worshipping foreign things and flattering foreign countries, Hollywood-oriented".

At that time, the fifth generation of directors had just started, and the education they received when they were studying at the Film Academy was to admire art films, admire the new wave in Europe and despise Hollywood-style commercial films, which coincided with these film critics. As a result, China, the first director deeply supported and loved by the audience, stopped his artistic career under the pressure of public opinion between Scylla and Charybdis.

Since then, the fifth generation of directors' literary films have been appreciated by the European film industry, and they have repeatedly won gold and silver in Cannes, Venice, Berlin and other places, which seems to further verify the "foresight" and "foresight" of film critics, and Xie Jin's generation of directors has also withdrawn from the mainstream of the film industry alone.

In the final analysis, after the opening of the country in the 1980s, many people turned a blind eye to the material wealth of European and American countries, tried their best to dwarf and deny their traditional history and culture under the banner of "reflection", and even idolized Europe, America, civilization and European and American film circles.

Therefore, the casual comments made by some "movie master" in European and American film circles after dinner and the so-called "movie list" given by European and American media can also make these soft-hearted film critics regard it as the golden rule, believe in it, and even blindly advocate that movies should be divorced from the public, regardless of the audience's viewing experience.

Even Zhang Yimou's artistic films, such as Red Sorghum and Living, were criticized by many film critics at the beginning of their appearance. The reason is that they are "too good at telling stories". Isn't that ridiculous? Isn't this interesting?

Therefore, in the "golden age of art" when China films won awards at international film festivals in the 1990s, a large number of directors shot various local films and tried their best to win international awards. On the other hand, in the box office competition, it was a fiasco, and its competitiveness was not even as good as that of video halls and DVDs that broadcast pirated Hong Kong films. All the major cinemas are dying, and all the cinemas have been demolished.

The European and American film circles with ulterior motives also regard these films reflecting the customs of rural areas and small towns as tools to belittle the "blindness" and "backwardness" of Chinese people.

1999, Cannes Film Festival, decided that Zhang Yimou's film "No Child Less" praised rural teachers and popularized compulsory education was "a tribute to China" and ordered it to be edited before taking part in the competition.

As a patriotic director with character, Zhang Yimou refused to give in and issued an open letter to protest, breaking with this film festival, which is known as the highest hall of international art films! But a few years later, regardless of his personal reputation, he changed his mind from scratch and made a commercial blockbuster "Hero" with unparalleled significance in the film history of China.

This film not only set an annual record (250 million box office) in China, but also won the top box office champion in North China, Japan and South Korea at a cost of 36,543.8+0 million US dollars, with a total global box office of 65.438+0.7 billion US dollars (65.438+0.45 billion RMB). Since then, the era of commercial blockbusters in China has been opened, and the cinema line on the verge of collapse has been saved.

But at that time, many film critics who monopolized the right to judge movies decided that Zhang Yimou was a "shameful traitor", so they were furious and attacked him, branding him as "bent on making money, abandoning art" and "subservient to power, purely flattering" and demonizing Zhang Yimou for nearly 20 years!

1994, the first film "Sunny Days" directed by Jiang Wen was born, and another talented director shocked the film industry.

However, due to Jiang Wen's willfulness in filming, he totally disdained to control the cost. Since then, every director's works, except the popular taste, box office and word-of-mouth Qi Fei's Let Bullets Fly, have all been "losing money and shouting", including The Sun Also Rises, One Step Away from Evil Doesn't Press Right, but they have been warmly praised by Wen Qing film critics, boasting all kinds of metaphors and praising him greatly.

It's a pity that Jiang Wen himself is very disdainful of such uninvited literary critics, calling them "a group of eunuchs who go to brothels", and publicly expressing that he only appreciates Xie Fei, Xie Jin and Jiang Wen.

At the turn of the century, the internet was underdeveloped in the early years, and the paper media still had considerable influence, and the general public also lacked understanding of movies. The so-called "film critics" who dominate the market by using their own media discourse power have mastered the right to comment on films from the paper media, and have been poisoning the commercial films in China, which have just started.

Our film market will almost go a different way, such as Japanese films and European films. On the one hand, art films have won praises and awards, on the other hand, the whole market has completely become a colony of Hollywood commercial blockbusters, allowing Americans to harvest box office at will.

Nowadays, with the popularity of smart phones, everyone can come from the media and everyone is a film critic. The era when hundreds of millions of young people in small towns decided the work of filmmakers, when filmmakers were God, and when a few film critics decided the reputation and even historical status of a new film, is long gone!

In order to promote the new film, even Zhang Yimou has to be interviewed by papi sauce.

Even Jiang Wen will go to Chuangshi 10 1 and shout.

Even Jia wants to start an era of "super-time dialogue" with women's group idols.

For some "film critics" who used to have unlimited scenery, a few articles and posts can change the color of the great director, and perhaps this is the most painful and lonely era.

Their arrogant interpretation of the film, their rhetorical metaphor, and the interpretation of Fog on the Cloud have already become the jokes of most of our audiences, even for Jia, a director who is still making art films and is truly recognized by the international film industry, it will soon lose its significance and value.

Now, it's 2020, and these literary critics, as well as their generations of disciples and grandchildren, are still full of hostility and disdain for the great success of domestic commercial films such as Wolf Warriors 2, Operation Red Sea, No Survival, The Wandering Earth and Nezha.

The so-called "Wolf Warrior ptsd" is a hysterical siege of director Jason Wu, who created the box office myth of China film history and even Asian film history, and a large part of them are his fans.

On the other hand, these film critics have blown up the unknown Japanese-Korean films and Taiwan Province films in the same period, and even insisted on learning and shooting such films, striving for the recognition of the American Academy Award and the European Film Festival. This is the development direction and the highest goal of China films, completely ignoring the fact that the vast majority of audiences simply don't like watching and don't recognize such films.

-its subtext is nothing more than the default that only Americans deserve to make commercial blockbusters, and only Hollywood deserves to occupy the China market. In essence, it is a cliche of capitulationists of European and American cultural comprador.

However, if these "Wen Qing film critics" really clamored for it, there would never be Wolf Warriors 2, Operation Red Sea, The Wandering Earth and Nezha, which have been eaten up by Hollywood tycoons!

Our ancestors taught us that only by learning from them can we gain something. Take the law, you can only get it. Even if the first place in Hollywood is really far ahead, we have always adhered to this goal and used it as a benchmark. After all, we have a huge commercial film market that is now the second in the world, and the index of single market capacity is infinitely close to Hollywood's North American domestic market.

Therefore, the argument of Wen Qing film critics that "art films are more important than commercial films" must be thoroughly liquidated.

From director Xie Jin, director Zhang Yimou to director Jason Wu, the grievances of several generations of filmmakers must be rehabilitated.

China movies are going to be completely transformed!