"She" in contemporary Chinese films and their gains and losses -"She in the World" and "Mom!"As an example

During the past Mid -Autumn Festival, two Chinese movies "She has her in the world" and "Mom!" 》 Released one after another. Both film directors are female filmmakers. From the perspective of information, "Mom! "The gains and losses of" There are her in the world are all presented, but the latter also tries to touch more extensive issues such as the real life of the epidemic and the emotional narrative of the image medium. Therefore In contrast, the exploration path of "her" narrative gains and losses.

■ Chen Yishui

During the past Mid -Autumn Festival, two Chinese movies "She has her in the world" and "Mom!" 》 It is released one after another. The story of the mother and daughter of the family of sodium created by the family of Alzheimo has become a "her" narrative movie that is worthy of attention during this time.

Because both film directors are female filmmakers, they tell the subject of women, and it is difficult to compare the two. From the perspective of information, "Mom! "The gains and losses of" There are her in the world are all presented, but the latter also tries to touch more extensive issues such as the real life of the epidemic and the emotional narrative of the image medium. Therefore In contrast, the exploration path of "her" narrative gains and losses.

Innovation of perspective: "New Voice of Women" of the subject of epidemic life

Regarding the topic of the epidemic, whether it was "Chinese Doctor" last year or this year's "You Are My Spring", they use Wuhan as a narrative space and tell the story of the first -line resistance workers. The difference is that "There is her in the world" tried to tell the story of every ordinary person who changed the epidemic from the perspective of a woman's perspective. To some extent, it was also a breakthrough in innovation of the epidemic subject. This innovation stems from the new perspective of women in domestic films, the new female story, and the new female emotion, so it has the innovative meaning of "new voice of women". In "There are her in the world", the sudden epidemic is an external force that aroused dramatic conflicts, so that women's feelings and emotions in the relationship between mother -in -law, love relationship, marriage and career relationship can be expressed. Land uses this as a "her" narrative.

Taking the first story of the Wuhan family who tells the infection as an example, the outbreak of the epidemic has completely exposed the contradiction between Shen Yan and her mother -in -law Li Ju: Shen Yan and her mother -in -law's excessive care of their sons have ignored each other's feelings. Lost self, and the "Mamao" husband who called the "being used by a woman", who called the true situation across the car window, and the transition from confrontation to mutual assistance when the life was dying to mutual assistance. These are the "her" narrative that originally originally originally originally lived in family plot dramas. Because the relationship between mother -in -law and daughter -in -law is usually regarded as the irrational emotions of women within the family, and lack of realistic and historic deep discussion, the character background lacks sufficient support, pavement and turning point. Over -programming and unfortunately failed to be deeply excavated.

The lack of reality and historical depth of the story exactly exposed the issue of the issue of mother -in -law and mother -in -law as the narrative of "her", which has been ignored in the middle of Chinese literary works. This shows that it is necessary to get rid of the internal logic of the family plot drama, find a more ambitious woman's emotional expression of women's emotional values ​​that can open up relatively individuality and privacy, and connect social reality and context of the times.

Media Innovation: The epidemic life and collective memory under the lens

The most significant feature of "She in the World" is the innovation of artistic expression, that is, reproduce the epidemic life and collective cultural memory recorded in different media, thus shaping the unique film aesthetic style of the film. The most innovative in the form is the second story of Chen Chong. The opening narrative space is the festive atmosphere of Zhou Xiaolu when purchasing New Year's goods in the supermarket, but at this time all real spaces are prepared to be black and white, suggesting the tragedy of death. It is colorful, rendering the beauty and sweetness of love. The first -person perspective of the mobile medium enhances this sense of emotional participation in a similar live broadcast. In addition, the color contrast between the real space of the black and white real space and the color of the color of the media, which makes this story have a unique aesthetic form. At the end of the film, after the camera lens left Zhou Xiaolu's balcony rotation immediately, dozens of balcony landscape appeared on the screen, indicating that personal emotions constitute collective memory. Another of another media innovation is the third story of Zhang Aijia, which occurred in Hong Kong, China, and on the level of content and emotional narrative, or for the first time, the epidemic life and women's situation recorded by the lens of the news media practitioners. The story also opened from the epidemic narrative under the perspective of the media, and also showed the pressure and discrimination of female news recorders in the industry. The marriage, emotion and life pressure faced by female news practitioners lack the presentation in Chinese film creation. Zhang Aijia can be said to be the only one of the three directors to try to "her" narrative from the relationship between marriage and love. Director in.

Back to the film itself, the quarrel between Liang Jingsi and her husband He Daren, showing the contradictions and struggles of female news practitioners in their careers and family relations. In fact, this is a problem of no solution. From the movie "203040" to "Fall in Love", the "her" narrative topic that has been trying to explore. And cleverly, this issue of unsteady issues "solved" by media innovation: At the end of the story, a couple kissed under the camera lens. ——The nostalgic photo shows the happy picture of the two on the street. The background billboard indicates that the time was exactly the Typical Pneumonia (SARS) period more than 20 years ago. This shows that no matter what kind of epidemic, no matter how the epidemic changes life, the beauty of love and the memories of happiness are the only constant things. Future innovation: the exploration space of Chinese film "her" narrative

Although the innovative form of artistic creation in the world is worthy of recognition, at the same time, the "her" narrative of Chinese films has a long time of "emphasis on emotions and light logic, heavy form and light content".

In addition to the way of telling the relationship between mother -in -law and mother -in -law, the second story also lacks in -depth portrayal of characters. For example, what is Zhou Xiaolu's personality and mode of getting along with people? Why does her boyfriend express his nostalgia for Zhou Xiaolu with "I am such a mediocre person"? If gender switching will not affect narratives, where will the "her" narrative women write? Because the story stays in the lack of basic emotional relationships, this most formal innovative story is the weakest at the content of the "her" narrative. The film "Mom!" 》 There are also narratives that are limited to mother and daughter relationships and lack a greater perspective. This is also revealed in the business type film "Hello, Li Huanying" or the literary film "Spring Tide". Chinese women's film creation has space that needs to be expanded, that is, how to break away from women's internal logic of family plot drama such as mother -in -law, mother and daughter relationship, and enters a grand perspective with a sense of reality and historic. "She" narrative is worthy of in -depth exploration of future innovation points.

In any case, the film "There is her in the world" attempts to use the narrative perspective of "women's new voice" and the media innovation method of image aesthetics. It tells the story of ordinary families in the post -epidemic era in the post -epidemic era. We see how women on the screen, love, career, struggle, and finally reconcile in their careers, and feel their pain and happiness coexisting, so as to tell how to maintain the inner unchanged and persistent in the changing external environment. Therefore, it always encourages every ordinary audience with today on the screen.

(The author is a lecturer at the School of Art and Media, Beijing Normal University, "Zhongying Young Scholar" at Beijing Normal University)

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