Only two episodes have been broadcast, and the director of iQiyi has created the reality show "Let's Shoot", which is already full of gunpowder.
The contradictions mainly come from directors and film critics. After the short film "Who Took My Takeaway", a film critic pointed out: "Now the presentation of this short film makes me feel that it is very much like a sketch-like work, and it may not be called a movie." ”
After hearing this evaluation, director Yi Xiaoxing looked at the sky with puzzled eyes, and fought back in the interview session: "Who can stipulate what the movie should look like?" Whoever said that a sketch cannot be a movie, there is no law that stipulates what kind of thing is a movie..." and listed a series of film history classics in different forms.
After the review session, several film critics gave scores, and then changed their scores, and the scores that were not high dropped again.
The film critics' relentless criticism made the atmosphere slightly awkward, and Yi Xiaoxing's dissatisfaction continued to spread until the score of the critically acclaimed short film "Brake" (directed by the desert) was revealed, and he also asked indignantly: "Shooting like this is also (only) more than six o'clock?" ”
Coincidentally, Tencent Video's "Director Please Advise" was also pushed to the forefront due to the contradictions between professional film critics and all parties.
Professional film critics hope to use their professional knowledge to guide the audience "from which mouth to enter, from which mouth to come out", so that they know what is wonderful about a work. The audience thinks that if a film needs the guidance of a film critic to make the audience understand, it is a failed work, otherwise it is "like chewing sugar cane that others have chewed."
What the two shows have in common is that the director has not yet been selected, but the film critics have been labeled by the audience as "pretentious", "arrogant" and "condescending", completely stealing the limelight of the director.
Yi Xiaoxing said in a roadshow before the broadcast of "Let's Shoot": "I used to admire film critics, but by participating in this show, I will no longer superstitiously believe what film critics say." ”
Why?
First of all, film critics assumed the role of "evil people" in variety shows, and directors became "vulnerable groups". Film critics are sitting precariously, looking like they are not close to others, coupled with frequent close-up shots, which naturally gives people an impression of being on top. Directors are like elementary school students, on stage only promises, modestly accept the judgment of all parties, and as a result, they are hurt by the poisonous tongue of film critics.
In contrast, the audience is naturally more willing to help the director.
Secondly, in the Internet age, everyone is a commentator, and people's attitudes and opinions that differ from their own opinions have a natural resistance and confrontational psychology.
Yi Xiaoxing's "Who Took My Takeaway" and Desert's "Brake" are completely different in style, with their own fixed audiences. Since directors can't satisfy everyone, how can film critics make all audiences listen to their "guidance"?
"Director Please Advise" and "Let's Start Shooting" are an opportunity to form a confrontation between the audience and the film critics.
In fact, there is an interesting phenomenon: people ask for film critics with the audience's mentality, but at the same time they demand creators with the standards of film critics.
Don't look at how many people speak for the director because of these two shows, when it comes to evaluating a movie, their evaluation criteria are even more demanding than the so-called professional film critics.
So, the question arises: Is it necessary for film critics to be present in these two shows?
To a lesser extent, it is necessary. In fact, if you don't watch these two shows with antagonism, the audience can gain a lot from professional film critics.
For example, Yi Xiaoxing set up a plot in "Who Took My Takeaway" in which the protagonist imitates the traditional Peking Opera song "Three Forks", which is both novel and absurd. Critics tell the audience what's so good about this section, so that people who like this short film can better understand the creator's intentions.
Some film critics have pointed out that it ignores the essence of the film because of "heavy techniques and light road", which is to find the crux of the problem.
Similarly, Desert's "Brakes" made many people enjoy and invest, and the details in the film pointed out by film critics that are easily overlooked by the audience give the audience a deeper understanding of the intention of the work.
The professional knowledge and unique perspective of film critics can make the audience further spiritually satisfied after hiccups.
But to a large extent, the existence of film critics is dispensable. This has to mention the model of the two programs: "Director Please Advise" forms an industrial closed loop of "producer-director-film critic-audience", and "Let's Shoot" is also similar.
Among them, film critics provide a professional perspective: upward dialogue with creators, suggestions for their works, downward docking with ordinary audiences, and guiding and improving people's aesthetics. Chen Sicheng said in the program: "Film critics are still quite critical, and they have a symbiotic relationship with the film and the director. Many ordinary viewers will influence their consumption behavior through the judgment of film critics. ”
Unfortunately, the current status quo is that the attitude of directors to film critics is not to take it seriously, and the audience's idea is "you are old". Therefore, the positioning of film critics in this program model is undoubtedly a failure.
In fact, the embarrassment of film critics in the show highlights their embarrassment in the industry.
Dai Jinhua wrote in the article "Calling for Film Critics": "Chinese film critics and film researchers have never had the ability to intervene in policy directions. The miraculous facts of today's Chinese films are basically the facts of capital and the market. ”
She believes that when the production of films is no longer a process of artistic creation guided by the artistic personality of the director, even if the film critics have the heart and the director intends, discussing the future of Chinese cinema in the dimension of film art is probably only a clear talk.
Moreover, it is difficult for today's film critics to form an independent character and establish their own credibility and image independently of production companies and distribution companies in the current situation of the industry.
Under various factors, it is a bit screwed to let film critics talk about works, guide directors, and lead the audience from the artistic dimension in a variety show.
【Text/Xu Xinqiang】