标签归档 广州桑拿狼友网

Special feature of 1905 film network The drama of the Eight Immortals crossing the sea in the Spring Festival in 2019 has not yet been staged, and the smoke of the three countries’ hegemony in 2020 has begun to diffuse.

　

As the most important schedule in the current year, the warm-up of the Spring Festival stalls has changed from the past few months to nearly one year in advance.

　

As early as March 26 last year, it was announced that it would be the first day of this year.

In July, it became the second film scheduled for the first day of the New Year.

　

In August, Han Han also announced his entry into the Spring Festival.

It was a little late, and it was only at the end of October that I decided to enter the Spring Festival.

However, in the propaganda front of the Spring Festival in 2020, the operation in 2018 is really nothing. Because, before the Spring Festival in 2019, there are already movies on almost the same day, announcing that they will be released in the Spring Festival in 2020.

　

First, Xú Zhēng sent a Weibo on January 23rd, hinting that he was lost again. The next day, the story happened in Lost in Russia, Russia, where it was announced that it would be the first day of 2020.

In the same year, it was also announced the day of the file. At the same time, it is widely rumored on the Internet that Lin Chaoxian’s new work will also focus on this schedule.

When is the New Year’s Day in 2020?January 25th! It’s just a year later.

11 days earlier than this year’s Spring Festival. Small electric gentleman smells a little bad.

　

There may be no film for this year’s New Year’s Eve.

　

This was once the most important schedule of China movies, but now it has gradually become a chicken rib. Why don’t all the films now want to go to the New Year’s Eve file?

　

Maybe my friends now are forgetting the glory of the previous Lunar New Year file. In 1995, Jackie Chan became the first Hong Kong film to be introduced to the mainland in the name of a New Year film, which sold 80 million yuan.

Since 1997, with the speed of one film a year, comedies have become the standard and box office guarantee for New Year’s Eve files. Every December, there will be a wave of movie-watching frenzy.

It is not only a comedy, but also a new year’s eve file has become the exclusive schedule for big directors and big productions. Zhang Yimou, Chen Kaige, Tsui Hark, Jiang Wen and others are frequent visitors to the New Year’s Eve stalls. Box office champions are also almost New Year’s Eve players.

　

2011 annual box office champion and runner-up;

Champion and runner-up in 2012;

Xiao Dianjun will not list them one by one.

　

Although traditionally, the Lunar New Year holiday is about the last two weeks of December, if we look at the box office in December, of the 13.1 billion box office in 2011, the box office in December was 1.309 billion, second only to the summer holiday in July and August.

Since 2012, the Lunar New Year file has never fallen below the box office figure of 2 billion. In 2015, the box office in December reached 4.194 billion, ranking behind July and October.

Although the Lunar New Year file can still continue to export more than 4 billion box office for the whole year, movies with big production and big IP have already set their sights on the Spring Festival file.

　

A few years ago, you can still see such a large-scale film in the Lunar New Year file, but now, the Lunar New Year file seems to have entered a situation where there are no films to watch.

"The box office of the Spring Festival for several consecutive years is too amazing, and ambitious films will naturally be more willing to go to the Spring Festival." Uncle Fei, who works in a film company, said. In his view, the New Year’s Eve is a bit awkward, there is no holiday, and it is stuck between the National Day and the Spring Festival. "Then why don’t I go to a bigger market space?"

　

Indeed, after breaking 1 billion in 2013 and raising the box office in February to 2 billion, the Spring Festival has become a more and more important schedule for the film.

In 2014, the top three competed for hegemony, and the box office in February exceeded 3 billion.

　

In 2016, the box office of a movie reached 3.1 billion, which broke the box office record of Chinese movies at this time and made the film company realize how big the capacity of the Spring Festival file is.

The Spring Festival, which spans January and February, has crossed the Lunar New Year file in just five years, becoming a schedule giant alongside the summer file.

　

The traditional four schedules of Spring Festival, Summer Holiday, National Day and New Year’s Eve are also slowly being adjusted to the two strong schedules of Spring Festival and Summer Holiday and the direction of having key films every month.

　

In particular, comedies and family-happy movies have moved from the New Year file to the Spring Festival file as a whole.

"Although there is a struggle with the opponent in the schedule, for example, I am the first choice film for the audience in the Lunar New Year file, so why should I go to the Spring Festival file to make a fourth choice film?However, if there is a strong outer film, it means that the space of domestic films will be crushed. The most typical example this year is."When talking about why the 2018 Lunar New Year file is not as powerful as before, a film planner said this.

He said that it is inevitable for a large number of movies to go to the big schedule: "The choice of schedule is mainly the living space and competitors, and there is also a volume problem, that is, quality and volume are not directly proportional. These two concepts are not directly related. In fact, you said that the quality of some films released in the Spring Festival file must be better than that of the box office champion" The Ring of Calls "? I don’t think so, but the volume is much larger than that of "The Call is Crazy". "

Uncle Fei, who works for a film company, also said,The amazing box office of the Spring Festival file has long been turned into a customized film for the Spring Festival file by a film company, and it was indicated that it was going to the Spring Festival before shooting.

　

Zhou Yuli, a writer, believes that the decline in the weight and status of the New Year’s Eve file is the inevitable result of the China film market becoming bigger and stronger. In "New Year’s File: Why Are Domestic Movies Silent?" In the article, he mentioned the emergence and prosperity of the New Year’s Eve file.In fact, it is the result of the small film market and low film production in the past 20 years. It is impossible to fill the vacancy of each schedule, which makes the effect of the Lunar New Year file expand and makes the low-frequency movie-watching group enter the theater.

However, since 2003, the box office of Chinese movies has maintained a growth rate of 30%.The annual box office in 2018 has exceeded 60 billion, 60 times that of 2003.

　

Behind the prosperity of the box office is the increase in the number of cinemas, the number of screens and the output of movies. The development of this speed no longer depends on the support of a single schedule, and the Lunar New Year file naturally has no "strategic essence" in the past.

Watching movies has now become a "new folk custom" during the Spring Festival. The low-frequency audience who used to walk into the cinema in the Lunar New Year file has now become the audience in the Spring Festival file.

"The habit of watching movies during the Spring Festival is to go to the cinema together. Everyone has gone home. The box office in the third-and fourth-tier cities is actually much more than the first-and second-tier in the space of the Spring Festival. They are all watching with their parents or with the children at home. " The film planner interviewed above said this.

　

This also makes movies with large volume and large resources flow to the Spring Festival file one after another. "Movies with high volume and quality. That must be squeezing into a strong position. If word of mouth is here, the attendance rate will not drop. The cinema will have confidence in arranging films.If the quality of the films entering the Spring Festival is directly proportional to the volume, it is definitely a plus item."He added.

It can be seen that the promotion of the schedule to the box office is on the one hand, but the film quality is the addition of the schedule box office. A good movie brings a good schedule, just as the New Year’s Eve file opened by "Party A and Party B" and "Journey to the West and Demons" let the film companies see the box office potential of the Spring Festival file.

Although the Lunar New Year file is influenced by the siphon effect of the Spring Festival file as the current super-strong schedule because it is near the Spring Festival, it is now an era when good movies can shine in the unpopular schedule. Let’s hope that the film will rediscover the value of the New Year file.

　 　 　 　Original title: "workplace metamorphosis" in modern spy war dramas

The foggy Qiu Chan, as a well-made spy war drama this year, has been greatly anticipated by the audience due to the pre-publicity’s rendering of suspense and the addition of many old drama bones. In fact, the beginning of the plot is desperate. The intense and exciting rhythm of the previous episodes really fits the artistic expression level of the spy war drama. However, with the end of the whole drama, most of the audience’s complaints about the straightforward and simple plot, the rigid emotional line of the heroine, and the unfocused modeling of the male protagonist constantly surfaced. The typological exploration of domestic spy war dramas still faces bottlenecks.

The "Death Game" in the Fierce Workplace Competition

Compared with the successful representative works of spy war dramas in previous years, such as plot against, lurk and pretender, Qiu Chan’s handling of "the struggle between the enemy and ourselves" does have obvious narrative confusion. On the whole, the plot still follows the strong plot narrative of the spy war story, full of danger and suspense, and weaves various tests for the protagonist. Compared with the portrayal of domestic heroes and the description of human nature, the workplace confrontation between Ye Chong and Miyamoto in the play is relatively more exciting.

In the fierce competition in the workplace, two young and energetic colleagues have different positions and beliefs. They use the superficial personal grievances and even the competition for the same position in the office as a seesaw, but in fact they have just completed the hiding of the hidden personnel. In the pursuit, catching the mole and suspecting his colleagues almost never stopped, from the office of the Military and Political Department to the scene of the arrest and interrogation, and even setting up sentry surveillance near the colleague’s residence. From the point of view of the workplace, the two are really devoted to their work. Dai Sato Zang, the Major General of the Military and Political Affairs Department of Xiangdao, is more like a leader who is embarrassed everywhere. The most repeated lines seem to be exhorting two subordinates to "I hope you will stop here". As a superior, while mediating the contradictions between subordinates, I hope they will be used for their own purposes; On the one hand, I hope that they will form a compelling relationship with each other and even deal with powerful subordinates. Here, the humanized contest between the enemy and ourselves, which is common in spy war dramas, has been clearly transformed into a workplace contest.

Generally speaking, in this seemingly infighting in the workplace, in fact, the righteous man will be portrayed as a superhero with superior wisdom and vigorous skills. In the play, Ye Chong did keep his disguise in every crisis, but it was always slower than Miyamoto’s, which led to the continuous failure of the joint, and comrades were constantly exposed and arrested, constantly sacrificed and transferred, and then entered the next cycle. In the play, the role of Xiaozhuang almost swept all the affairs of Ye Chong, and the point of fierce confrontation between the male and the female was also diluted. If it is intended for the suspense mechanism of plot narration, it can only be regarded as a strong spiritual stimulus of "death game", which is useless for shaping the protagonist.

In addition, in the spy war drama, it is also a common skill to sublimate the sense of tragedy in the form of the hero’s sacrifice in the face of potential crisis and the viciousness of hostile forces. Before the arrival of this established sad moment, the complicated story is not the standard to judge whether a play is good or not, otherwise it will fall into the formal game of suspense reasoning and hinder the expression of the theme.

Youth idols and the infinite land of "pan-spy war"

The high confidentiality of hidden front work makes underground workers more like a contradiction. Qiu Chan is the male actor Ye Chong — — Code-named "Qiu Chan", an underground worker, chose a youth idol. Allen’s face is chiseled, with all kinds of uniform suits, suits and white shirts, and he can play the piano. As a hidden and forbearing person, The Infiltrator invariably highlights the modern aesthetics of the characters, which seems to usurp the host’s role. Stereotyped facial stereotypes can’t match the development of characters’ personalities.

From Sparrow, which started with the appearance of "youth" spy war in 2016, to Qiu Chan, which is cold and lonely today and needs to be reborn, it is of certain significance for the younger generation to pay attention to and inspire their growth, and its influence and communication effect are also obvious to all. In the consumption context of youth idols, there are often designs that pretend to be lovers or couples, and Qiu Chan has not jumped out of this pattern, setting up scenes where female characters are jealous or have misunderstandings. In the past spy war dramas, this usually existed as an auxiliary line of family ethics narration. However, if emotional entanglements can’t really play a role in narration, they are just coquetry of female characters, which will lead the plot to a boundless land of "pan-spy war".

The revolutionary cause of spy war is not a child’s play. Female roles can be weak, but they must be honed and grown. The female images in Qiu Chan also lack the smart and capable side of women in traditional spy war dramas. In addition to Junko Qingquan’s excellent business ability, Jin Xiang was portrayed as a "gangster female leader", while He Ying, the female host, focused too much on the emotional relationship with the male host. The embarrassment of identity and emotional displacement make the audience only rely on the existing experience, and they are constantly frustrated in the heavy decryption of the plot. This gamification experience, which is not equal to the real feeling, further dispels the seriousness of spy war.

In addition, it is a skill for spy war dramas to create a sense of urgency in time and space to construct unique urban images and complete dramatic conflicts in a certain time and space structure. For example, the New World, with the main battlefield in Beiping, the Peace Hotel, with the closed space in Manchuria in the northeast, and the Kite, with a spy war narrative around the mountain city of Chongqing, etc. Qiu Chan also takes wartime Hong Kong as the main activity scope of the characters, and inserts some actions of Myanmar and Shanghai. From the blockade of virtual space to the breakthrough of external information transmission and exchange, the regulation of time and space provides an enchantment for this clever narrative. But it is a pity that the drama’s creation of Hong Kong’s urban features in a specific period is mediocre in regional characteristics and has not left a clear and profound impression on people.

Since 1958, when the film showed the outstanding underground workers of the Party dedicated themselves to the revolution, the image of hidden front workers in these years has been stereotyped as "dancers at the tip of a knife", and everything except faith and mission has been left behind by individuals. The TV series "Eighteen Years of Enemy Camp", which premiered in 1981, was recognized by the academic circles as a new beginning of domestic spy war drama because it showed the image of a Communist party member who went deep into the tiger’s den regardless of personal safety. It can be seen that the enduring foundation of domestic spy war dramas still lies in the performance of revolutionaries on the hidden front and their indomitable underground work. Qiu Chan’s expression of workplace squeeze in the hidden front, the borrowing of youth idol elements and the expression of special regions in special times are also an exploration of new types of elements in domestic spy war dramas to some extent. Although it is not satisfactory in handling, it is still instructive.(Author: Peng Liuying, Associate Research Fellow, Film Art Center of China Federation of Literary and Art Circles, Editor in Charge of Film Art)