It's a long time, the feeling of watching movies!Shanghai audience can finally enter the cinema again

The activity of cultural tourism can be described as the "vane" of a city vitality. Since the suspension of business on March 12, after a lapse of months, under the premise of the effective implementation of various prevention and control measures, Shanghai has also been strictly and orderly to gradually open the cinema and performance venues in an orderly manner.

The screen on the screen is red and shadow, and the Shanghai audience can finally enter the cinema again, marking that our lives have gradually returned to normal, and our city is also increasingly reborn.

Looking forward to the box office selling after the resumption of work in the Shanghai Cinema, friends can freely rush to the box office for the beloved movie. I believe everything will be fine. Let's cheer together! Chong Duck!

Recently, since its release on June 24, the hot domestic film "Life Event" has ranked third in the 2022 film box office list in 2022.

Under the interpretation of the starring actors, it broke the stereotype of the audience for the funeral industry, and caused many discussions on netizens to discuss the "view of life and death".

Just as a series of Asian films such as "The Great of Life" and "Enter the Division", under the shaping of Asian consensus and Asian values, Asian films have established unique identity identity and oriental aesthetic expression.

The film conveys the thinking of things through the image, and in turn, it plays a role in spreading Asian values ​​and Asian consensus. This is obviously written on the transmission of video that spread Asia.

Why do Indian movies dance with "unsuccessful words", and Japanese movies are full of cure? Understand these movies, you understand Asia.

For movies, history and culture have shaped the soul of the film. Through movies, we span the time and space and talk to the civilization of various countries.

Japanese movies labeled "cure" and "small fresh" label

On the list of Douban Movies TOP250, the 7th "Thousands of Thousands of Thousands" is the first Japanese movie in the minds of many netizens.

In this movie, we can see clear Japanese elements, soup house, Japanese mythology, legendary monsters ... ...

"Chiranghong" borrows a large number of metaphors to reflect the cruel social reality, but at the same time, it is still very pure and beautiful, bringing the audience's healing feelings.

Over time, Japanese movies have more different styles.

The film "Thief Family", which won the best film of the 71st Cannes International Film Festival, focuses on the "edge crowd" at the bottom of the society, showing the complexity of family and human nature, facing the cruelty behind the seemingly happy life Essence

"Tokyo Sonata" focuses on the typical internal contradictions of the family in Asia. After the family crisis, the protagonist chose to return to the family, showing the emotional dilemma caused by the collapse of the patriarchal in the traditional sense of family ethics and the traditional sense of modern society.

The observation of Asian movies on daily life explains the general problem of the general minds and nostalgia of Asian people in modern society. The image faces the trivial and small emotional flow, which in turn fills the emotional gaps omitted by the western -style grand narrative.

There are traditional reasons behind Indian movies with "dancing"

From the "Toban" familiar with the older generation to "Bollywood Bollywood", which has been popular in recent years, the impression of Indian films always seems to be dancing.

And this feature comes from the Persian theater.

The Persian theater is divided into two scenes: "deep curtain" and "shallow curtain". Most of the "deep curtains" are painted with solemn scenes such as palaces or gardens, and "shallow curtains" hang on lively street scenes.

Due to the limited number of people, in order to allow people in India in different languages ​​to enter the theater, the Persians who opened the theater racked their brains.

For the upper -level audience of literate India, the Persians will distribute the script directly to the audience in order to understand the plot.

For the non -literal Indian civilians, the cheerful Indian songs and dances, with some seemingly exaggerated but strong performances, have become a bond that crosses language and communicate with the audience.

Singing and dancing has become the characteristics of Indian film. However, songs and dances with entertainment effects do not affect the real topics of Indian movies.

For example, the Indian film "Indian Past" tells the story of Indian youths in the late 19th century in the cricket competition with British colonists. The symbolic meaning subverts the narrative templates about the conquest of the strong and civilization in the Western civilization.

It not only awakens the collective memory of Asian confrontation between colonial rule and launching a nationalist movement, but also shows the confrontation between the third world countries with Western modernity with romanticism.

Which Chinese movie is TOP1 in your mind?

"Box office first, number of screens first, domestic movie box office occupies the mainstream position ..." China is already a veritable film country.

According to data released by the National Film Bureau, in 2021, the total box office of my country reached 47.258 billion yuan, of which the domestic film box office was 39.927 billion yuan, accounting for 84.49%of the total box office.

The total box office of the year continued to maintain the world's first. Among the top 10 films in the box office of the year, 8 of the 10 films of the box office were domestic films, of which "Changjin Lake" and "Hello, Li Huanying" broke into the top three in my country's film history box office list.

The types of films in all flowers meet the diversified viewing needs of the audience.

"There is no film that can be separated from culture, politics, and economic settings. They ultimately shaped the aesthetic quality of film works."

Asian movies are no longer a regional image concept, but also a kind of identity, a way of communication and expression, a aesthetic form, and a psychiatric state exchange. Especially at the moment when the game of world religion, ethnicity, class, and ethnic groups is becoming increasingly diversified, knowing movies is to understand culture and history. Only by understanding the history and culture of the main nature of Asia and reflection on modernity can we see the global development of Asian movies.

The identity represents a constructive self -cognitive process, which "through cultural construction, narrative body and time accumulation, generate the" narrative identity "under the corresponding relationship in the space -time context.

As an important narrative carrier, Asian movies must inevitably establish the subjectivity of the identity beyond the restrictions of the nation state in order to build Asian imagination and pass the Asian claims in the world film pattern.

Read reading today

"Asia Proposity:

Research on Asian Communication theory in the context of global communication ""

Zhou Ying

ISBN: 9787309161021

Publishing time: March 2022

Fudan University press

abstract

This book is committed to cracking the core proposition of "what is Asian claims and how to establish Asian claims." From the perspective of media geography, political economy and other perspectives, this book uses the thinking methods of computer big data processing to clarify certain quantitative laws in macro international relations, and further explain the global expansion and operation process of Asia with case analysis. Therefore, the establishment of Asia's claims in the communication research depends on the facts such as the dependence of the elements of space geography, historical culture, real transformation, and Western experience, and then put forward the basic content and construction of Asian claims.

About the Author

Zhou Ying, a doctor of communication at Zhejiang University, and Dr. Annengberg School of Communication at the University of Pennsylvania, the University of Pennsylvania, is currently a lecturer at the School of Journalism and Communication of Shanghai University. Mainly engaged in Asian communication theory, global communication, and film industry research. Publishing a book "Wallwood under the Visual Threshold of the Media". Published the papers "Centennial Director Dream: 1905-2015 Wallwood Director Research", "Re-painting Movie Map:" Hu Huanyong Line "that breaks through the development of Walongwu's film industry" and "New Worldism in International Communication Vision:" Research on the Concept of Destiny Community "Concept and Dynamic Mechanism". He presided over the 67th batch of Chinese post -doctoral scientific funds "Research on China Institute of Public Opinion Guidance Mechanism in Global Governance Context" (2020M671067).

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