This summer's theater "hit" is a "national style" animated film - "Chang'an 7,24 Li". According to the real-time data of Lighthouse Professional Edition, as of 0:12 on July <>, the film's box office exceeded <>.<> billion yuan. The film takes the interaction between the Tang Dynasty poet Li Bai and Gao Shi as a clue, presents the history of the Tang Dynasty from prosperity to decline, and portrays Du Fu, Wang Wei and other "Tang stars". Some viewers praised the film for restoring the prosperity of the "poetry empire" and "satisfying all my fantasies about Sheng Tang's 'romanticism'"; Some people also lament that the intertextuality between "immortals" and "worldly people" can still resonate today, "people can only read the phrase 'light boat has passed ten thousand mountains' in middle age". This newspaper interviewed a number of cultural scholars, literary and historical writers and industry professionals, who made their own interpretations of the film.
"Chang'an 30,000 Li" is the "Bege" of the national comic industry
(Zhang Yiwu, Professor, Department of Chinese, Peking University, Member of the Standing Committee of the Central Committee for Promoting Democracy, Director of the Culture and Art Committee)
"Chang'an 30,000 Li" chooses to cut into the culture of the Tang Dynasty from a unique angle, which is not only the "other grid" of animated films, but also the "other grid" of culture. One of the most representative cultural characteristics of the Tang Dynasty is poetry, the film through Gao Shi's memories of the Tang Dynasty, through a large number of portrayals of the Tang Dynasty life and vibrant cultural forms, showing the most unique spiritual temperament of the Tang Dynasty, allowing the audience to feel the life of the Tang Dynasty poets through the film, but also contact with Chinese poetry, from a perceptual point of view to understand Chinese cultural traditions.
In the past 10 years, domestic animated films have gradually become an important carrier for the revival of traditional culture, and Chinese animated films should also be a very important genre in the world.
Domestic animated films have been pursuing national style, which is also the tradition of Chinese animated films. On the one hand, it borrows from international animated films, and more importantly, it excavates deeply from traditional aesthetics to form a unique style and has also had a far-reaching impact. For example, the theme of "The Great Trouble in the Heavenly Palace" filmed by the Wan brothers is traditional, drawing a lot of nutrients from ancient Chinese lacquerware and bronzeware, excavated cultural relics, Dunhuang murals, and folk New Year paintings. Therefore, Chinese animated films have a unique oriental aesthetic pursuit, forming an animation tradition with Chinese artistic pursuit. "Chang'an 30,000 Li" makes people feel that it not only continues the tradition of Chinese animation, but also has its own unique innovation. The popularity of this film proves that the film is in line with the interests of the young Chinese generation, especially in line with their understanding of traditional Chinese culture, and also echoes the young generation's spiritual imagination of the Chinese nation.
"Chang'an 48,5 Li" can be said to be a movie connected by famous pieces of Tang poetry, and poetry is also the protagonist of this work. The ingenuity of the film is that most of the <> poems in the film are covered in primary and secondary school Chinese textbooks. Tang poems are as vast as a sea of smoke, there are nearly <>,<> songs, and the selected works in the film are some familiar works. Sitting in the cinema, as soon as the poem came out, it instantly connected with the audience's heart, and the poetry became the successful narrative "medium" of this animated film, evoking everyone's resonance. Poetry can make people feel the power of culture. The fact that Chinese audiences can "enter" these poems at zero distance and without barriers is actually an important way for them to "enter" the film.
Some people think that the image shaping of Gao Shi in the film is debatable, and there are many historical figures who are friendly with Li Bai, such as He Zhizhang, Guo Ziyi, Du Fu, Zhang Xu and others, why did they choose Gao Shi? In fact, this angle is quite unique. The contrast between Gao Shi and Li Bai is actually a contrast of personalities and different life choices, thus allowing people to see the different paths and destinies of the poet. In addition, this film is a current literary and artistic creation, as long as it conforms to the overall context of history, the audience may wish to regard it as an "interesting story" about history, in the "interesting story" to make Tang poetry come alive, telling the cultural spirit that belongs to the Chinese.
The biggest feature of this film is the deep cultural background, and the expression of Chinese "poetic heart" and "poetry" highlights the characteristics of traditional Chinese culture and is also an attractive element. The challenge for this film is also due to the deep cultural background - the film is deeply rooted in Tang poetry and Tang dynasty culture, and its cultural symbols and expressions are deeply rooted in Chinese culture, so cross-cultural understanding is difficult for overseas audiences. In cross-cultural communication, how to avoid "cultural discounts" and how to make this story more acceptable to international audiences with different cultural backgrounds still needs to make more efforts.
Of course, cultural "going to sea" requires crossing cultural barriers. We are full of optimism about cultural communication, and believe that the unique oriental culture will be understood or even partially accepted by the outside world through media such as animated films, so that foreign audiences can also understand it. This requires us to work hard for a long time.
The chapter of Sheng Tang is a cultural memory engraved in the bone marrow
(Wang Haiyun, Assistant Researcher, China Institute of Education and Social Development, Beijing Normal University, member of the Democratic Progressive Society)
I watched "Chang'an 30,000 Li" in a county town in Huizhou, holding Xiao'er by the hand, and he wanted to buy a bottle of drink and a pack of fries before entering the venue. During the movie, the five-year-old did not know the words, and the elementary school students sitting behind him began to chant to the characters in the film from the beginning of each poem. When watching the movie, I am most disgusted with the disturbances around me, but when I watch this movie, I will be moved by the immature voices around me. If the beauty of Chinese culture is poetic in words, then the Huazhang of Sheng Tang is the most beautiful cultural memory.
"Writing poetry" was something that everyone would do in that era, from the heroic feelings of home and country, to the beauty of a flower and a leaf, you can rely on poetry. In an age where poetry is appreciated, creativity is encouraged and talent is valued. Excellent poets gather together, whimsically, and unrestrained, colliding with more inspiration and talent. The gorgeous scene of the literati gathering in the liquor store to pair the poem, and the orchid dancing is the most radiant portrayal of the Sheng Tang. Every name in the liquor store is a famous literati who has been passed down for thousands of years. When this scene was performed, the children in the cinema were the most excited, and some children even stood up and read along. The childish voices of the children are like the elementary school children in the film who read poetry for Gao Shi, maybe they don't understand, but they will understand one day.
When people reach middle age, they can also be regarded as having some experience and feelings, just like Li Bai in the film, indulgence in landscape poetry always has a momentary ambition. After experiencing the ups and downs of life, from a flock of birds flying high in the sky, to drifting all year round, a flat boat returned to the Central Plains. When he stood at the head of the boat and chanted, "The apes on both sides of the strait can't stop crying, and the light boat has crossed the 10,000 mountains," I couldn't hold back my tears. A great talent is like an immortal, and he also has to face the heavy blows of life, but even if he encounters many ups and downs, he still has a comfortable mood and feelings.
As a Chinese, these poetic memories from antiquity are the collective cultural memories that belong to a people. The recitation and meditation in childhood gives us rich feelings and language to face life, we can "raise a glass to invite the bright moon" when facing loneliness, we can believe that "we don't worry about the road ahead without knowing ourselves" when we go to distant places, we know how to give lovesick red beans when we are in love, and we can use "seeing the mountains and small mountains" to encourage ourselves when we are trying to climb. Even a child, such as a five-year-old in my family, would look up and ask me what "homesickness" was when he heard the familiar "Silent Night Thoughts".
"Chang'an 30,000 Li" is to show such poetic memories in front of the audience in the form of "Sheng Tang Qunying Meeting", some people may feel that the movie is too long, but I can understand the screenwriter's inseparability. Such cultural memories shape our poetic cognition and aesthetic basis of the world, and it is with such a beautiful past that we are such a unique civilization, full of emotions and full of spirit.
In the 20,80 years of Chinese civilization, there have always been many such times where poetry flourished, and looking at the poets in the Chang'an wine shop, you can't help but think of the brilliant gentlemen of Southwest United University in those years, and think of Haizi, Beidao, and Luo Yihe in the Beijing tavern in the <>s of the <>th century. At that time, they were very young, full of ambition and believed in the future.
Mr. Yu Guangzhong wrote about Li Bai: "Wine into the bowels, seven points into moonlight, the remaining three points into sword qi, embroidered mouth spit half of the Tang." ""Chang'an 30,000 Li" writes about Li Bai, and the ups and downs of reality are insignificant in the face of gorgeous poems. He was as dashing as a fairy, and finally flew away. Over the long years, his words and phrases have finally become the cultural genes of the Chinese nation, flowing in the blood of the bones and passed down from generation to generation.
Immerse yourself in Datang
(Chen Weidong, member of the Animation Art Committee of the China Art Association, founder of Tianjin Shenjie Culture Group Co., Ltd., non-party person)
"Chang'an 30,000 Li" is relatively mature at the technical level, especially in terms of scene conversion, picture texture, etc., and also performs well in the excavation of characters and character shaping. The film's creators have made some special attempts to express cultural views, which I find interesting.
For example, in the heyday of the Tang Dynasty, all the poets, the best cultural people of that era, what were they pursuing as the backbone of the era? Judging from the movie, they seem to be pursuing recognition, which is embodied in the pursuit of fame and fortune, and even do not hesitate to curry favor with the powerful for this. This is a question of values buried deep in the film: What is culture for? I think this question is very profound. I admire the creator's attempt to borrow commercial expression and skillfully integrate deep thinking. In the past, some directors wanted to express their social values or humanistic outlook, only through simple plots or through simple lines. In fact, if domestic animation wants to talk about something profound, you can learn this way of "Chang'an 30,000 Li".
When we do cultural communication, what we disseminate is a kind of information symbol, which is combined into a value and cultural view, which is transmitted to the audience and becomes part of their outlook on life and the world. Why is there resistance to the transmission of traditional culture? This is mainly a context of lack of cultural transmission. Now there is a popular word called "immersion", that is, the communicator creates a unique situation, so that your emotions, emotions, thinking, and consciousness can experience the cultural content in all aspects. This "immersion" solves the above problem. Just like the major historical turning point of the Tang Dynasty from prosperity to decline, it was originally far away from us, but through this movie, people will feel more empathy.
Zhang Xuefeng's new book "The Tang Dynasty in Tang Poems" tells the history of the Tang Dynasty and the life circumstances of many famous poets. (Photo courtesy of Flower City Press)
I saw Chang'an in my heart
(Zhang Xuefeng, writer, editor of Hubei Science and Technology Press.) His new book "The Tang Dynasty in Tang Poems" was recently published by Huacheng Publishing House, and the section "Gao Shi's Official Path" tells how Gao Shi ushered in a turning point of fate when he was over half a hundred years old, starting from the "office director" of the Longyou Jiedu Shogunate, and gradually becoming "the most proud Tang Dynasty poet in the officialdom". )
In 744, Li Bai met Du Fu. According to Mr. Wen Yiduo, this meeting is equivalent to "the sun and moon meeting heads in the blue sky." Mr. Wen Yiduo also believes that "in our <>,<>-year history, apart from Confucius meeting Laozi, there is nothing more significant, more sacred and more memorable than the meeting between these two people."
In real history, Gao Shi also joined this meeting. The three traveled together in Liang Garden in Bianzhou, traveled together, and gathered together to "remember and Gao Li generation, and discuss the exchange of wine". This year, Li Bai was 44 years old, Gao Shi was 41 years old, and Du Fu was the youngest, only 32 years old. They met until the autumn and went their separate ways.
This was the first meeting between Gao Shi and Li Bai and Du Fu in history. It is not as dramatic as the first meeting between Gao Shi and Li Bai in "Chang'an 30,000 Li". In the movie, Gao Li and the two met from a misunderstanding, and then became friends who talked about everything. The film takes their interaction as a time clue to show us the Tang Empire and the imperial capital Chang'an.
Everyone has a Sheng Tang in their hearts, and everyone has a Chang'an in their hearts. From "Chang'an 30,000 Li", I seem to see the Sheng Tang in my heart and the Chang'an in my heart.
The picture of the movie is beautiful. The grand layout of Chang'an City, the streets and alleys, the fireworks, the green water and green mountains of Jiangxia, the side plugs of Jinge iron horses, and the thousands of miles of rivers and mountains of the Tang Dynasty in the movie unfold in front of our eyes like a picture scroll.
The details of the film are exquisite. From the clothes of Gao Shi, Li Bai and other characters, I saw familiar Tang Dynasty patterns such as bead patterns, flower and leaf patterns, hunting patterns, and tuanqiao patterns, which still shine after thousands of years; I heard the title of "Gao Thirty-five" from the picture of Li Bai and Gao Shi's interaction, and this title, after thousands of years, is still thunderous. What's more, there are more than forty poems that have been recited repeatedly.
After watching the movie, after a thousand years, we will think: why do partners who talk freely about their ideals in life and move forward side by side "all separated after toasting and blessing", one for the temperance and the other for the prisoner? I even think: After years of hard work in the workplace, will I become a high adaptor? It won't be Li Bai, right? "Chang'an 30,000 Li" leaves us modern people to think, in fact, there are many, many.
Peng Min's "The First Class in the World" tells the works and stories of many famous poets. (Photo courtesy of Hundred Flowers Publishing House)
Li Bai is a "man of the world" and a "man of the world"
(Peng Min, writer, deputy director of the editorial department of "Poetry Journal" magazine, overall winner of the fifth season of "Chinese Poetry Conference".) His book "Zeng Xu The First Class in the World" will be published by Hundred Flowers Literature and Art Publishing House in 2022, telling the life and pursuit of poets such as Li Bai, Du Fu, and Su Shi in a relaxed and humorous manner. )
"Chang'an 30,000 Li" I have already "brushed for the second time". There are some things that I didn't fully understand the first time, such as the battle in the battlefield in Gao Shi's twilight years, and I understood with the "second brush" that his original plan was to first abandon the first city, retreat to the second city, and lead the enemy to the middle of the two cities and then "catch turtles in the urn", this plan comes from Li Bai's saying "if you want to deceive, deceive the other party completely" - the connection between this suddenly became clear when the "second brush" was "second brush".
There are many "famous scenes" in the movie. For example, the first time Li Bai and Gao Shi met was in the reeds under the sunset; Another example is Gao Shi's "Yan Ge Xing", the movie picture made me almost burst into tears; There is also the passage "Will Enter Wine", which vividly shows the soaring part of traditional Chinese culture, the kind of "oppressive ostentation" influenced by Confucian culture.
The film reduces the poetry "gods" to "people". For example, Du Fu gives us the impression that he is depressed, bitter and bitter, and worries about the country and the people all day long. In fact, after he reached middle age, his life became more and more bleak. In the first half of his life, he was also the son of freshly dressed angry horses and the "second generation of officials" with no worries about food and clothing. He was also a lively, mischievous child as a child. He himself said, "Remembering the fifteenth year of the year and still a child, healthy as a yellow calf walking back"—running around all day like a calf, and "the pear dates are ripe in August before the court, and the tree can be returned a thousand times a day". He was also very "arrogant", so he would write sentences such as "give material to promote the enemy, poetry to see the son and build relatives", for Yangxiong, Cao Zhi, these predecessors of the great writers, he felt that "I am similar to them".
Another example is Li Bai. The movie shows the "poetry" side. At the same time, the audience will find that Li Bai also pursues a way out of the secular world, will do advice everywhere, and will say such far-fetched words as "I don't need to be a marquis of ten thousand households, but I wish to know Han Jingzhou". Moreover, Li Bai is the son of a businessman, married the granddaughter of the former prime minister in two formal marriages, and is still a door-to-door son-in-law, but he does not seem to have much psychological baggage. These are all his efforts to change his class.
For a long time, we liked to elevate these poets infinitely and give them some "unkind" perfection. But according to historical data, many poets are not like that, and the restoration of this movie is a very good attempt. Through the smoke of history, we can see more clearly. For example, the clip of "Will Enter the Wine" in the movie, the front is fantastic, exuberant, the picture turns, returns to reality, becomes a cold color, Li Bai's image is a little haggard, and even can see his little belly - "Li Bai in the sky" and "Li Bai in the world" have a comprehensive, three-dimensional presentation, which also allows us to "touch" a more real Li Bai. (End) (The text of this edition is interviewed and compiled by "China News" reporter Liu Jun Cheng Xiaolu author Luo Lujiao and Yin Limei)