On December 29th, the China Xiamen Women's Film and Television Senior Seminar was held in Xiamen. Photo by Lin Chunyin
Xiamen, December 30 (Reporter Lin Chunyin) At the 2021 China Golden Rooster and Hundred Flowers Film Festival being held in Xiamen, a number of film and television industry insiders praised "Li Huanying" to the reporter of China News Network for bringing a good trend to China's film and television industry, and also expressed the observation behind it: "Women's expression is still not enough."
Yin Xiangjin, President and Producer of Wanda Film and Television, delivered a speech at the Xiamen Women's Film and Television Advanced Seminar in China. Photo by Lin Chunyin
"Shanghai women themselves are the topic"
Since the beginning of this year, "women's films" have performed well in the Chinese mainland film market and commercial achievements. Chinese female director Jia Ling's work "Hello, Li Huanying" won 5.413 billion yuan (RMB, the same below) at the box office, becoming the third place in this year's global box office list; "My Sister", written by female screenwriter You Xiaoying and directed by female director Yin Ruoxin, also received 860 million yuan. The two films also broke into the 34th Golden Rooster Awards of Chinese Cinema, known as the "China Expert Award", and were nominated for multiple awards.
And the "Love Myth" that is being screened, the emotional attitude of the young female director Shao Yihui and the three heroines who have experienced different personalities in the play is also quite "out of the circle", and the topic of actor Ma Yili's suggestion not to label women has also aroused heated discussion on social media.
"Shanghai women are a topic in themselves." Yu Kangchun, director of the film studio of the Shanghai Film Art School, said with a smile.
Yu Kangchun's impression of the young female director Shao Yihui speaks very softly, and the Shanghai neighborhoods and cities where she lives "have a very wide depth and breadth." In his opinion, the high score of "Love Myth" comes from "the director as a young man has a very persistent persistence, natural sensitivity and delicacy and her professionalism".
Jiang Shengnan, a well-known screenwriter, spoke at the China Xiamen Women's Film and Television Senior Seminar. Photo by Lin Chunyin
"The Chinese style of good wife and good mother has advanced"
From the first generation of directors wang Ping filming "The Electric Wave That Never Disappears", to Li Shaohong in the fifth generation of directors filming "Red Pink", and then to Jia Ling's debut film "Goodbye, Li Huanying", Zhi Fina, a professor at the China Academy of Arts, believes that Chinese women's films have reached a height of both artistic achievement and commercial achievement.
"Women's films are forming a trend." Zhi Fina revealed to the China News Network reporter that the grassland mothers of three thousand orphans entering the grassland, and Shen Jilan, the earliest advocate and practitioner of "equal pay for men and women for equal work", have all become film themes and entered the shooting stage.
"Judging from the development trajectory of Chinese films, Chinese women are effectively demonstrating women's power through film and television." Yin Xiangjin, president of Wanda Film and Television and a well-known producer, said that from Liu Huifang, who was popular in the 1990s, to Gu Jia and other urban female group portraits in this year's popular TV series "Thirty Only", the Chinese-style image of a good wife and a good mother has advanced, "In the workplace and society, women's consciousness is awakening and rising."
Jiang Shengnan, the author and well-known screenwriter of "The Biography of Mi Yue", has been asked many times why he chose to reshape the Warring States period from the perspective of "Lü Hou". Jiang Shengnan admitted that when writing the story, he did not want to write a "female story", but hoped to have a new perspective to explore this "ancient version of the age of awakening".
Jiang Shengnan believes that women's films have been in Kochi women's "introspective small explorations" for a period of time, and now high-grossing women's films mean "a big turn of the times" and become "the resonance of the public". For some "women in the shadows", literary and artistic works may become a light, so that they can learn to fight when life is difficult and confused, and learn to learn solutions.
The scene of the China Xiamen Women's Film and Television Senior Seminar. Photo by Lin Chunyin
"Women's expression is still not enough"
Yin Xiangjin found that at the Golden Rooster Venture Capital Conference she just attended, the proportion of female directors selected in the top 30 is quite large. Interestingly, Bai Xue, the first director supported by Wanda Film and Television that year, also happened to be a female director.
Yin Xiangjin believes that the development of digital technology provides a larger market for female creative talents, "at least you don't have to worry about not being able to carry a bulky camera", and women's films are certainly not limited to women's themes, "widely grabbing materials from society is the performance of women's status and broader vision." ”
Yu Kangchun, who has been in the industry for 35 years, cited a set of statistics on the disparity in the proportion of men and women in film and television education, showing that "female film and television talents are the first resource element of the film and television industry." But he also believes that "women's expression is still not enough."
The Golden Rooster Award gives "female expression" a continuing and important encouragement. The reporter of China News Network paid attention to the fact that the script of the first Tibetan women's theme film "Drifting with the Wind" won the Best Creative Script Award in the Minority Theme Unit of the 27th Golden Rooster Awards, and now it has been nominated for the Best Small and Medium Cost Feature Film and the Best Supporting Actress at the 34th Golden Rooster Awards.
Solang Wangmu, who has been nominated for best supporting actress, said in an exclusive interview with a reporter from China News Network that the mother she played, Sandan, experienced ups and downs and eventually "grew up against the wind"; the film pays attention to the living conditions of Tibetan women, and for her, "the most difficult thing is to show the psychological state".
Zhang Pimin, chairman of the China Film Foundation, also said that from the female creative group to the theme, it is the foundation's focus on supporting and cultivating objects.
Zhang Pimin said that China's screen number and box office have ranked first in the world, and the output is also among the top three in the world, but there is still a gap in the share of Chinese films in the overseas box office, "Women's films will be the shining team in the Chinese film army." (End)