About the Author:
Ma Weiwei, a native of Henan City, is an associate professor at Nanyang Polytechnic Institute, mainly engaged in the study of the nationalization of Chinese film language.
The issue of the nationalization of film language has always been a controversial topic, and the long shot of the lateral movement is a technical way and means in a superficial sense, which can be used in both Eastern and Western films. However, we cannot deny the possibility of nationalization based on this, because film language mainly refers to the various special media forms used by films in conveying feelings and communicating information, which is a general term for expression methods and technical means, and does not involve languages above linguistics.
Its nationalization of the meaning is not limited to technical means, but also the establishment of on this basis of aesthetic taste, emotional expression, narrative methods of the general term, and these things that are inherent in the film are ultimately to be presented through the film language, so the film language itself has a difference from the West, which is the so-called nationality of the film language. Therefore, using the technical way as a framework, the study of the nationalization of the language of the lateral movement lens on this basis has a basis and a foundation. As Li Shaobai said, "The nationalization of film is both in content and form, and even more in the organic unity of content and form" [1]. Ye Yiqun, a theorist of literature and art, said, "Although technical methods have no borders, the use of the same technical methods to express the lives and thoughts of people of different nationalities will inevitably produce art with different styles." [2]. Therefore, the exploration of the nationalization of the expression of the long horizontal lens in Chinese films is the result of the unremitting efforts of generations of Chinese filmmakers to integrate the lateral technical form of film into the level of national cultural expression.
Poster for the movie "On the Cliff"
First, follow the learning: under the technical discipline of Chinese films in the form of horizontal long shots exploration
(1) The potential influence of traditional Chinese cultural and artistic concepts
The birth of a new art form needs to learn from the old art style, and it also needs to learn from the paradigms that have been formed by itself, in order to find the appropriate position and model for its legitimate existence. As Gombrich said: "If every artist does not learn from his predecessors, he can find a way to reproduce the world around him that has never been seen before or since." We cannot study the history of the development of art. [3] The same is true of the film.
The basis of the birth of film is the Western realistic painting and photography, and its basic logic is to reproduce the object in the objective world and achieve the purpose of "imitating the object", so the film as a figurative product has focused on constructing a "embodied" cognitive system from the beginning, and according to this, a set of figurative expression mechanisms for reproducing the world have been established. Film is an art of using a two-dimensional screen to express three-dimensional space, flattening is the biggest taboo, and the pursuit of depth of the picture is the basic focus of picture composition and scheduling. Therefore, since the birth of the depth of field lens, many directors in the West have begun to explore the longitudinal space of the depth of field lens, although the horizontal lens was commonly used in The film in the early days of film, but with the emergence of the depth of field lens technology, it has become a taboo unconventional existence in Western films. For China, which lacks such a foundation, the tradition of traditional painting as "rebuilt objects" is obviously not enough to make Chinese films develop self-sufficiency. Newcomer Chinese films are only juggling in the theater, and the concept of drama is taken care of in the examination of the theater field.
As Li Suyuan said, "Looking back at the history of cinema, Chinese unlike Westerners, who rarely show due enthusiasm for scientific invention and technological progress." This is not because they lack scientific ideas or despise technology, but mainly because the history of Chinese cinema began with the introduction of film rather than the invention of film, coupled with the backwardness of technology at that time, limited by seeing and hearing. People look at the distant past, with the aim of finding out whether the film has some kind of natural connection with the art that existed before it, in order to determine the place it occupies. So people quickly found this connection in theater. [4] Zhong Dafeng argued in his "On Shadow Drama" that "when the creators of 'shadow drama' at that time drew nourishment from the national cultural tradition, they were naturally limited by the historical conditions at that time and their own world outlook and cultural attainments."
Due to the origins, experiences, and other reasons of those engaged in "shadow drama", most of them, although they were influenced by the ancient Chinese aesthetic ideas based on literati poetry and painting theory, lacked more systematic knowledge. They are more familiar with traditional Chinese opera and popular literature such as novels and quyi. The artistic experience and expression methods accumulated in popular literature and art that cater to the appreciation habits of the masses have profoundly affected them. This influence played a decisive role in their creations. [5] This shows that in the early silent film period, the development of film was affected by technical constraints and also influenced by the concept of film and drama. The unique concept of time and space structure, the concept of drama, and the concept of flat light use all affect the traverse long shot to a certain extent.
(2) "Clothesline" composition enlightenment under technical discipline
The weakness of the scientific foundation restricted the ability of early Chinese filmmakers to understand and grasp the depth of film from the independent perspective of film as art, and also limited the western cognition of early filmmakers for the horizontal long lens, thus unconsciously breaking the so-called Western taboo and forming a unique image style, which also became the ideological understanding basis for the stylization of the horizontal long lens. Bobker, LeeR., in his Film Elements, says that "the basic purpose of all film composition is to create a sense of depth, to create a third-dimensional sense of film with two-dimensional film." More subtly, the viewer must be allowed to cross the surface into somewhere inside the frame. [6] Bob's statement points to the importance of cinema's depth, a recognition of the critical scientific understanding based on Western cinema technology, but in China in the 1920s, the ability of film to be imaged was the primary key issue, let alone the ontological cognition of cinema. From the perspective of early film technology practice, in the initial stage of film just introduced to China, because of the limitations of technology, the camera was not only in a state of inconvenience to move, but also in a technical dilemma that was not easy to control. For example, Chen Junqing's film review "The So-Called Chinese Film" published in the "Literature Weekly" recorded the image picture of the audience when watching the movie "Three Women in Shanghai": "Friends all said that when they saw it, they only saw a longing figure bumping on the screen, and they did not distinguish their faces or what they did. [7] This was actually a misstep for not controlling the focus.
In addition, it also shows that due to the limitations of optical focal length control technology, it is not possible to grasp longitudinal and complex movements. So we see that the characters in the early film pictures are arranged in a straight line as in theatrical performances, showing a clear "clothesline composition" in the composition form, and the actors are laid flat on an almost vertical plane at a frontal or side angle. In some films made by star companies in the mid-20s, this kind of composition is quite common, such as "Orphans Save ancestors", "Feng Da Young Master", "The Last Conscience" and so on. These compositions have some common features, such as the situation that is often used for multiple people to appear in front of the camera at the same time, basically they are lined up, horizontally balanced on the upper and lower edges of the screen, in the form of simpler, more flat, and most importantly, the depth of field space is very shallow." [8] This was because photography and lighting techniques were very limited at the time, and before 1926, most of the shooting used carbon-precision lamps, and the lenses were mostly 50 cm focal length, in which case "how to make the actors all clearly present on the screen became a considerable problem." Because according to the principle of photography, the depth of field is related to various factors such as lens focal length, light hole, and distance between the lens and the subject. At that time, the carbon fine lamp illumination was low, if you want to obtain light suitable for exposure conditions, it is necessary to increase the amount of light, the lamp is used too much Actor will be "scorched" danger, not to mention that the general company does not have too many lights, so it is necessary to increase the light hole, and the light hole will lead to the depth of field becoming shallower. That is to say, the range of clear scenes that can be shot has become smaller. In these irreversible physical situations, there is only one way to get good exposure and focus, and that is to arrange the person or object roughly in a straight line. That is, to put the subject on a focal surface.
Thus, the "clothesline" composition appears. [9] The advent of "clothesline" composition temporarily solved the problem that plagued early Chinese photographers with an uncontrollable focus. Under the technical discipline, early film creators re-examined the overlapping structure of the lack of depth in the flat composition, which obtained a very different effect from reality, not only to attract the audience, but also to arrange the expression more economically, while also being able to imitate and excavate the form with reference to the mental schema of traditional Chinese painting. The "clothesline" composition combined the later later lateral moving long shots with the legendary narrative characteristics of Chinese drama, trying to temporalize the space, flatten the three-dimensional, and visualize the plot, laying an artistic foundation for the formation of the early lateral long shot mirror language characteristics.
Poster for the movie "Love Myth"
(3) The exploration of the form of long shots of lateral movement in early Chinese films
According to the author's literature search and through the examination of existing film footage, it is found that in the silent film era, the use of long shots with lateral motion was relatively small, but there has been an initial exploration of its use. According to the statistics of Yuan Qingfeng of the Communication University of China, from 1905 to 1931, it was an important period of development of silent films in China, and the audience can see the films, as of now, there are 21 films. According to the release time, they are "Labor's Love" (director: Zhang Ishikawa, 1922), "A String of Pearls" (director: Li Zeyuan, 1925), "Pansi Cave" (director: Dan Duyu, 1927), "Cape Poet" (director: Hou Yao, 1927), "West Chamber" (director: Li Minwei, 1927), "Love Sea Heavy Kiss" (director: Xie Yunqing, 1928), "Lonely Chick in the Snow" (director: Zhang Huimin, 1929), "Afraid of Wife" (afraid of wife) Directors: Yang Xiaozhong, 1929), Red Man (director: Wen Yimin, 1929), White Rose of The Heroine (director: 1929), Love and Obligation (director: 1931), A Cut of Plum (director: 1931), Peach Blossom Weeping Blood (director: Bu Wancang, 1931), Director: Silver Han Double Star (director: Shi Dongshan, 1931), "Screen History" (director: Cheng Bugao, 1931). Through the grid-by-frame analysis of the above films, it was found that when there were multi-person scenes showing extras receiving props in "History of the Silver Screen", the director used a long shot of lateral movement to present the scene of the actor receiving the props, which was shown from the perspective of the heroine's spectacle, highlighting the size of the scene and the rapid development of the film industry. In "Lonely Chicks in the Snow", the director uses a sideways heel traverse shot to deeply highlight the confusion and loneliness of Chunmei being driven out on the snowy night. This long, sideways shot shows the "spectacle" scene of the snow day from the side of Chunmei, which not only highlights Chunmei's inner world, but also pulls the audience into the plot from the perspective of the spectator. It is worth noting that the early traverse shots were mostly in the form of side heel shots. In Cheng Bugao's "Memories of the Film World", the shooting memories of the early side heel traverse motion shots are recorded. He said, "Further set up a cross-section, the lens heel, from one room to the end of the pull over the wall, followed by another room, everyone is ingenious, competing to win, for the sake of "following the camera" and "following the camera", a momentary trend. ”[10]
In fact, it is clear that the heel lens here is just a lateral motion shot of the camera moving as the subject moves. During this period, the appearance and use of horizontally moving shots, only to comply with the needs of the narrative, embodies the movement of novelty, especially in the "History of the Screen", which epitomizes the director's need to show the environment, and the horizontal shot in this shot has a strong drama. In the movie "Spring in the Southern Country", there is also a lateral shot of the description of the environment in the opening part, but it can be clearly seen that the author's grasp of the form is relatively young, and the fluency and smoothness of the movement are relatively clumsy. Although the use of lateral movement has its own role and meaning, it is impossible to define and fix its rules. The excavation of the genre of moving shots in early Chinese films also holds a high degree of similarity with world cinema. It was from the beginning of the realization of being mounted on a mobile vehicle, and after experiencing the panning lens, The Kabylian movement, the follow-up lens, and the crab-style movement camera, the complex type of motion lens was formed. Therefore, the initial traverse lens is only a preliminary discovery of the basic function of movement, and has not yet formed a mature use paradigm and style, but only a preliminary exploration of technical means and expression effects, but this preliminary exploration has begun to combine the legendary narrative characteristics of traditional Chinese painting, especially Chinese drama, trying to time space, flatten the three-dimensional, and visualize the plot.
Second, let's continue: the exploration of the subjectivity practice path of the long horizontal lens in Chinese films
In "New Science", Feng Youlan summed up the idea of traditional cultural modernization into three aspects, that is, "do not share the same difference, continue to talk and abstract inheritance method". What is not mutually exclusive is to distinguish between the similarities and differences between modern culture and traditional culture, how to inherit and what to inherit. What follows is the solution to the abstract inheritance method is the practice and method of cultural modernization. For the practice of lateral long shots in Chinese films, Bei Gongshu has already understood the commonality of lateral long shots to movement in the "follow-up learning" stage of Chinese films, but under the technical discipline, he has unconsciously opened the artistic exploration of lateral long shots in Chinese films. The subjective exploration of the traverse long lens as a form has yet to be explored. The artistic practice and theoretical exploration of the long horizontal lens in Chinese films are closely linked to the artistic tradition of Chinese film and the tradition of Classical Chinese aesthetics. How to continue the aesthetic tastes, aesthetic methods, and even the mind schema of traditional art is the key to the continuation of traditional cultural art as a means of modern film art.
(1) The artistic practice of moving long shots sideways in Chinese films continues
By combing through the development of lateral long shots in Chinese films, we find that since the film entered the sound era, the lateral long shots in Chinese films have undergone unconscious accidental use to active aesthetic exploration. In the movie "Road Angel", "Midnight Song", "Waves and Sands", "Lianhua Symphony", "Volcano Love Blood", "Boat Girl", "Wang Laowu", "Front Desk and Backstage", etc., there are long lateral movement shots. However, the stylization of the use of these traverse long shots is not obvious enough, and the director has not yet found his active aesthetic exploration consciousness when exploring the aesthetic function of the traverse lens. However, the stylization of the lateral long shots in the movies "Dead Wood Fengchun", "Lin Zexu", "Nie Er" and so on is more obvious. This is mainly due to the call of the times for nationalization, and the director's own active exploration of nationalization. From the 1950s to the 1980s in China, in the practice of Gao Qing's nationalized film creation, film workers represented by Zheng Junli, Han Shangyi, Huang Shaofen, etc., took the initiative to explore the nationalized long-lens mirror language model from traditional Chinese culture and art. "Because of the relative isolation of the Chinese film industry from the world film industry at that time, a group of film artists such as Zheng Junli, Han Shangyi, Xu Lulin, Nie Jing, and Jiang Jin could only 'explore the treasure' of traditional Chinese art."
In the exploration of the long horizontal lens, the older generation of filmmakers not only borrowed the form of classical traditional painting, but also creatively transformed the concept of time and space of traditional Chinese art. Zheng Junli was inspired by Zhang Zeduan's "Qingming Upper River Map" in "Dead Wood Fengchun", using the hand-scrolled painting form system, creatively processing the scene in the prologue of the film, "The Relics of the Thousand Villages Xueli People, and the Ten Thousand Households xiao shu ghost singing", using the depth of the picture to change, with the horizontal movement of the lens to depict the atmosphere of the vast social space, the film boldly uses classical aesthetic elements in the setting and scene scheduling, finds the traditional mind pattern from the Classical Chinese painting theory, and continues the artistic tradition. In this scene, Zheng Junli not only uses a one-minute lateral movement lens to depict the miserable depression of the chaotic grave space, but also combines the lyrics of "green water and green mountains are self-destructive, Hua Tuo helpless little worm He" with the long horizontal movement shot, and the commentary integrates the suffering of the old society with the fact that the bitter girl and Fang Dongge's family are lost. What is even more charming is that at the end of this shot, another long horizontal shot of non-stop black transition brings out the social picture of "willow peach and shepherd boy leisurely" after liberation. Nie Jing also used the scheduling of long shots of lateral movement in "Song of Youth" and "Little Soldier Zhang Ga". For example, in "Song of Youth", young students sang the song "Songhua On the River" in the room, and with a deep singing voice, the camera slowly moved sideways, creating the image of the young group facing the salvation of the people. The group portraits of the people in the scene where grandma is righteous in "Little Soldier Zhang Ga" are also taken care of in the form of a lateral shot.
(2) The theory of art in Chinese films that laterally shifts long shots continues
It is worth noting that as a director, "from a theoretical point of view, in classical Chinese art, Zheng Junli is probably the earliest of them to find a creative basis for this dynamic continuous lens layout method." [12] Zheng Junli found the possibility and feasibility of using the depth and complexity of the picture to depict a vast space in the Song Dynasty Zhang Zeduan's "Map of the Upper River of the Qingming Dynasty" scroll long scroll system. Han Shangyi, as an art designer, "further pushed forward the theory of mobile photography on the basis of Zheng Junli, and proposed that the dynamic layout of the film should have the effect of 'changing scenery step by step', 'turning the peak loop', 'stepping into victory', 'touching the scene', and 'seeing things and thinking about feelings'. [13] Han Shangyi also believes that "the word 'fun' in Chinese characters is a combination of 'walking' and 'taking', why not standing 'taking' or sitting 'taking', indeed, when people travel, only after arduous 'walking' trekking can they 'take' the beauty of nature." In the movement of the lens traverse, pulling and tilting, the interest of 'shifting steps and changing scenery' and 'peak loop turning' is generated." [14] Han Shangyi's trek of "walking" is actually the "tour" in the creation of classical painting, "the direct expression of swimming in the shape of the film is the use of moving lenses, and the aesthetic idea of dynamic layout continuous layout." The continuous display of long scrolls in traditional Chinese landscape paintings, as well as the classical aesthetics of the dynamic layout of "moving scenery and turning peaks and loops" in the garden. [15] For Han Shangyi's "tour" of changing scenery, Jiang Jin returned to the form itself, and the scattered composition of the lateral shot was considered to be "scattered composition, we can borrow the impression of time and simple disappearance, let the audience associate through the visible part of the image, or recall the past scene, which can make the limited scene express the infinite artistic conception, which is also the biggest advantage of the scattered composition." [16] Nie Jing believes that "the scheduling and rhythm of the shot should be based on the content and the thoughts, feelings and actions of the characters." [17] In fact, here we should note that the traverse lens can effectively connect the director's subjective cognition with the audience's cognition, although the traverse lens will make the audience perceive the programmatic existence of the traverse form, but it is precisely this deliberately exposed form itself that presents the prominent "wandering" characteristic of the lateral movement, and makes this "wandering" characteristic obtain the modern transformation and continuation of the lens language.
In addition, we should also see that the traverse long lens as a formal means of art is different from the medium attribute of film. The media attribute of the film emphasizes the role of the media in conveying the link, and pays attention to the communication ability of "imitating the object". As an artistic means, the emphasis is on the expressive ability of art, rather than the imitation or reproduction of reality based on the one-way basis of the objectivity of the means. In his Film as Art, Rudolf Einheim stated that "a work of art is not simply an imitation of reality, or a selective reproduction, but the result of incorporating observed features into the form prescribed by a particular means". Rudolf Einheim believed that "the true artist does not pay attention to concealing the humanity of his artistic means" and that "the necessary condition for a good work of art lies in the clear disclosure of the characteristics of the means". [19] The horizontal long lens is based on the subjectivity of art, attaches importance to the value of people as the subject, comprehensively incorporates the formal elements and spiritual pursuits of traditional Chinese art into the mirror language of the horizontal long lens, and pioneers the nationalization path of the Chinese horizontal long lens, especially the Chinese filmmakers from the modern transformation of traditional art culture, analyze the relationship between the horizontal long lens in Chinese films and traditional novels, poetry, painting, drama and other art forms, and do not abide by the Western film ontology of real space." The pursuit of "imitating objects" dares to start from the film as the ontology of art, breaks the taboo and unconventionality of lateral migration, and provides a successful model reference for the nationalization of Chinese film language.
Poster of the movie "Three Women of Shanghai"
3. Abstract Inheritance: The Inheritance and Breakthrough of the Paradigm of Traditional Chinese Art with Long Horizontal Movement
(1) Abstractly grasp the inheritance of the paradigm of traditional Chinese art by the horizontal long lens
Lin Niantong believes that "Zheng Junli's hand-scrolled lens movement theory, Han Shangyi's shifting step change of scenery, and Jiang Jin's scattered composition principle are all the embodiment of the artistic concept of 'you'",[20] and "you" has also become an abstract generalization of the long horizontal lens. He also believes that "the art of film should also pay attention to charm." Nie Jing's theory of qi rhyme and dynamic rhyme on "single lens-montage aesthetics" can be said to be another important theory in the study of Chinese film modeling theory after Jiang Jin put forward the aesthetic idea of you, and we may as well say, "The theory of swimming and mirror rhyme will connect the aesthetics of the Six Dynasties of the Pre-Qin Dynasty and the contemporary film aesthetics of China." [21] Lin Niantong believes that "a Chinese film aesthetic theory marked by the aesthetics of 'travel' can be said to be generally complete in combination with the characteristics of classical Chinese aesthetics, explained by classical Chinese aesthetics, and centered on several concepts such as hand-scrolled dynamic continuous layout, shifting scenery, mirror rhyme, and artistic conception." [22] Lin Niantong expanded "tour" to the aesthetic category of Chinese cinema and named it "mirror tour". The traverse long lens has become a concrete embodiment of the theoretical proposition of "mirror travel". Lin Niantong believes that "the theoretical study of Chinese cinema, especially the use of classical aesthetic concepts to expound the artistic creation of films, enables the aesthetic ideas of ancient China to be combined with the aesthetic ideas of modern film art, and can be inherited in the same vein and connected to the present and the present" [23]. As a special form of Western film creation practice, the horizontal long lens is a creative attempt by Chinese filmmakers to combine their own cultural traditions and thinking conventions, and it is also a inheriting development of abstract inheritance of traditional Chinese culture and art.
Of course, it must be recognized that abstract inheritance faces the problem of concealment and manifestation. After the reform and opening up, "the tendency to teach Hollywood and European art films audiovisual techniques has become more and more pronounced, and this kind of dynamic mirror language and spatial scheduling art techniques with a national aesthetic style have almost disappeared, and few directors have applied it to their own films" [24]. This is not to say that the long traverse shot has disappeared, but has been temporarily faded. Abstract inheritance is not confronted with ready-made fixations, but a kind of inheritance hidden in the blood and genes of our nation. In recent years, with the boost of national cultural self-confidence, more and more films have once again begun to take the initiative to explore the treasures of traditional Chinese culture and art. In the journey of nationalization practice of the traverse long lens, the traverse long lens in Zhang Meng's "The Piano of Steel" explores the distancing effect of traverse as a traveling view. Yang Chao's "Map of the Yangtze River" recreates the hand-rolled "Youguan" in a lateral motion, which once again strongly proves the creative transformation of the film's travel tradition of classical Chinese painting in the mechanical properties of the medium.
Gu Xiaogang's "Spring River Plumbing" combines the landscape of the vertical axis with the social life of the horizontal movement, so that tradition and modernity are integrated in the mirror of the landscape and humanities. The practice of these creations once again proves that the use of long horizontal lenses in Chinese films is not an accidental impulse, nor is it caused by the accidental personality of one of the filmmakers, but by the underlying national aesthetic thinking and national cultural traditions. The national aesthetic thinking and national cultural tradition not only exist in the film, but also exist outside the film. Lateral shift is an oriental mode of thinking rooted in Chinese, and is an intuitive experience of oriental thinking about time and space, art and life for thousands of years. In his "East-West Meeting", Anlezhe believes that the thinking of orientals is an associative thinking. Xu Fuguan believes that "Chinese culture understands the universe as a process of change" pays attention to process relations. Therefore, we need to look at the traverse lens from the perspective of national aesthetic thinking and national cultural traditions. "When people recognize that the current techniques of cinema embody values and attitudes that are still alive outside of cinema, when they realize that cinematic techniques are connected by ways of thinking and feeling—about time, space, existence, and relationship—and, in short, with the worldview that has become part of the thinking life of an entire epoch of our culture, they really learn the art of cinema." [25]
Lin Niantong uses the travel view to dominate the knowledge theory of the long horizontal lens, and responds to the inheritance and manifestation of the historical tradition with the mind schema of the horizontal mirror language, so that the travel thinking and the tourist aesthetic are no longer limited to the traditional classical aesthetic field, but have obtained the transformation of modernity, forming a horizontal long lens mirror language form with Chinese aesthetic characteristics. At the same time, the traverse long lens mirror language model has also obtained the traceability theoretical resources of Chinese aesthetics, and the further development and exploration of the nationalization of Chinese film language has laid the practical foundation as a methodology. Therefore, it is necessary to re-examine the nationalization of the traverse long lens, which is not a case and a special case in the general sense, but should be placed in the practice of Chinese film creation and in the context of Chinese cultural and artistic traditions, abstractly grasping its essence, abstractly grasping its methods, so as to achieve abstract inheritance.
Stills from the movie "The Piano of Steel"
(2) Abstractly grasp the ways and methods of breaking through traditional Chinese art with long horizontal lenses
Lin Niantong's film research method of exploring the perspective of Chinese art historiography from the perspective of Chinese art history from the perspective of Chinese and Western comparison provides an important path reference for current film research. The history of Western film art, "by placing film in a broader history of visual experience, and interspersing the entire historical history of visual art evolution of painting-photography-film, it is a powerful proof that film inherits the instrumental viewing tradition of Western painting in the mechanical properties of the medium." [26] However, this tradition places emphasis on the visual role of perception and neglects the mind. According to Arnheim, "All perception contains thought, all reasoning contains intuition, and all observation contains creation"[27], and its profound meaning is that "there is no gap between perception and thinking, and the gap is caused by the division of people's understanding, and he also believes that the reason for this division of understanding is the prejudice of Western civilization." [28] For Western film theory, theorists and creators are accustomed to using scientific thinking and scientific methods to interpret and create films, attaching importance to the visual role of perception, but forcibly dividing vision and thinking. And "the Chinese literati still subconsciously put movies like other existing art categories, in the big system of society, life, and culture to experience and observe." [29] This experience and observation is not only visual, but also mental, and it is not only about the present, but also connects tradition and the future.
Therefore, from the traditional point of view, the concept of poetry, books, music and painting in Chinese culture is homologous, which makes the evolution of visual art in Chinese films more complicated. From the very beginning, Chinese films have no scientific basis, and they have existed as an artistic style, focusing on starting from the ontology of art, exploring the artistic development context of understanding the ontology of film from the ontology of art, and attaching importance to the dual roles of vision and thinking. In fact, in the modern Concept of Western film art, film has long been not a simple "restoration of material reality", nor is it a one-dimensional "asymptote of reality", painting in the context of the evolution of visual art of painting- photography - film, it is no longer a single perspective principle that dominates the world, and there are other painting traditions such as Cubism and Constructivism. The space in the film is no longer a simple three-dimensional perspective space, and the director"'s work of Antonioni, Godard, and Jean Marly Straub who constructs the cinematic space according to the principle of perspective has been minimized or even disappeared." [30] Therefore, from the perspective of the modern visual experience of film, film needs to be connected with a variety of artistic disciplines - a variety of artistic thinking - film means, in order to build a modern film art development context with a community of human destiny.
As a long horizontal lens of film language, it begins with the horizontal movement of technical discipline, but in the nourishment of national artistic tradition, it constantly absorbs traditional art forms and breaks the performance taboo of Western lateral long shots, and the practice of nationalization of film language is no longer limited to the form and technique itself, nor is it simply transplanting traditional cultural art concepts into films, but the research of traditional techniques goes deep into the level of national culture, national thinking and national aesthetics, forming a theoretical paradigm with the ontological significance of film art.
epilogue
In short, the nationalization of Chinese film language should not only start from the film itself, but also need to re-examine the cultural and artistic traditions of the growth of Chinese films, so the cultural logic of the nationalization of film language can gradually be found in the relationship between many film arts and traditional Chinese art. In this process, the "transformation" in the nationalization of Chinese film language is based on the premise of absorbing foreign countries, creatively transforming the nationality, and maintaining the subjectivity of Chinese film language, neither "talking" about Western film language theory, nor blindly following the traditional Chinese art to "follow up", but to "continue to speak", starting from the film as the ontology of art to continue the tradition, in the creative transformation of Chinese film and the generation of Chinese film language characteristics, to achieve the subjectivity construction of Chinese film language nationalization. After all, "Chinese cinema is not a branch of Western cinema, it has its own system." [31] Therefore, from the perspective of Chinese art historiography, we should abstract the standards and methods of universal value of film from the perspective of Chinese art history, and serve as a reference for the nationalization of Chinese film language.
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Editors: Cao Honggang Pu Huarui
Editor: Zeng Zhen
Source: Film Review, No. 15, 2021
Film Review was first published in 1979
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