□ Yu Xiaofeng Kong Yuyao
"Warring States University Hall of Minoru Gakumi" re-depicts the Jixia Gakuen palace in the language of drama records, focusing on the interactive relationship between national reality, national memory, national identity and national imagination, and recasting the cultural consciousness role of national construction from the perspective of image time and space aesthetics.
The architectural body of Minoru Gakugu Ishigakugu is the spatial center of the documentary narrative, but the documentary does not pay too much attention to the architectural details of the Gakugu. As the world's earliest "Academy of Social Sciences", its guiding role in civilization is the focus of characterization. Therefore, the documentary selects the cultural background of the ideological unity of the Warring States from the controversy of the Hundred Schools of Thought in the Warring States, the book burning pit Confucianism in the Qin Dynasty, and the early Han Dynasty. First, with the help of the audience's familiarity with the real and rich national reality materials such as "Warring States Struggle for Hegemony", "Book Burning Pit Confucianism" and "Monopoly Confucianism", it provides realistic support for recording the sublimation of narratives from material buildings to spiritual communities. Second, in the linear flow narrative of the Minoru Xuegong, the key historical inflection points from the Warring States to the Qin and Han Dynasties are captured into five narrative themes, which greatly strengthens the sense of rhythm, interest and watchability expressed in the documentary, enhances the performance tension, and climaxes in the lines, bringing more audiences into the film and television field of the common imagination of the nation.
In terms of narrative mode, the documentary cuts through the perspective of the characters. Around the origins of the Minoru Gakugu, the lobbying paths and historical deeds of Mencius, Xunzi, Zou Yan and other historical figures in the state are intertwined, mainly manifested as "historical figures in action" and "figurative historical figures". On the one hand, the historical figures of the action are not limited to the corner of the Country of Qi, but also supplemented by the historical background of the Yan State, the Qin State and other countries, expanding the record capacity of the Minoru Xuegong to achieve the overall view effect of "seeing the six roads and listening to the eight directions", on the other hand, it is a metaphor for the long-standing and generational ideological and cultural influence of the Minoru Xuegong and Mr. Minoru, and at the same time, it gives the documentary the fluidity and flexibility in expression, and activates the main purpose of the text. The figurative characters are to show the image details of the Hundred Sons and Hundreds of Families, such as Han Feizi, who contrasted and shaped Mu Ne's stuttering in the fission chapter, and Li Si, who is articulate and ambitious, breaking the facial narrative mode and giving history everyone a skeletal bloodline. At the same time, the documentary complements the antecedents and consequences of the characters' behavior, interspersed with diachronicity and synchronicity, knowing the hardships and hardships of Mencius's travels to study and advise the government, the bitterness of Xunzi's political views in his later years, and the obscurity of Uncle Sun Tong's taoguang for the promotion of Confucianism... Let the audience gain insight into the motives behind the great achievements of historical figures and deepen their identification with their own national identity.
In terms of presentation form, the documentary adopts four recording methods of plot performance, animation restoration, expert narration and relics real scene, which opens up full perception cooperation and innovates the audience's imaginary landing method of the national community. Among them, the actor's plot performance and animation technology restoration serve the historical time and space, and the expert interpretation and the real scene of the ruins are filmed in the current time and space, and the four ways are integrated into the documentary scene reproduction and rumination historical service. First of all, the actor's plot performance introduces the film montage into the creation of the documentary, which is the main means of emphasizing the reproduction of the situation, and the script interpreted in the film is taken from authoritative historical classics such as "Mencius", "Shiji", "Xunzi", "Zouzi", "Kong Congzi", "Shuoyuan" and so on, and vividly interprets the twists and turns and glory of the real sons and hundreds of schools of thought through the actors. For example, in the Chuxing chapter, mr. Chun Yu Jie and King Qi Wei met with a monarch in the "History of History and Funny Column Biography", Chun Yu Jie satirized king Qi Wei with the riddle of the big bird "no flying and no sound" to satirize King Qi Wei for three years of doing nothing, and King Qi Wei tong showed his determination to Chun Yu Jie in a hidden language, and the well-known idiom allusion "one hit" was more naturally explained in a visual rhetorical way, so that the audience had a sense of presence in the historical context of Ji Xia and realized the imagination of the scene. Secondly, the use of technology enriches the picture beauty of the documentary, but also provides more convenient conditions for the restoration of historical scenes, three-dimensional reconstruction technology makes up for the lack of less historical sites related to the Minoru Gakugu, reproducing the grand momentum of the Gakugaku palace in the past; hand-drawn animation stunt pictures and 3D stunt pictures are organically matched, interspersed in historical stories, and the creator's national imagination is intuitively displayed. For example, the Tianjia rebellion during the Qi Tang Dynasty was presented in animated frames, and the shadow animation of the fight, accompanied by text commentary, integrated freehand and realism, vivid and concise and interesting. Finally, the expert interpretation after each historical story is a bridge connecting national history and reality, these experts are professors, local scholars, and writers from various fields, who enrich the discourse system of the documentary with their own experiences and perspectives, communicate directly with the audience on the value imagination from different thinking dimensions, deepen the audience's understanding of ancient culture and character allusions, and continue the audience's attention.
In terms of value integration, the documentary caters to the Chinese nation's sense of identity with the traditional culture of the chinese nation, and modernly interprets the cultural values contained in the Minoru Gakuen From the three perspectives of world development history, Chinese cultural development history to regional cultural development. First, in the axial period of human civilization, Greece also appeared with the symbol of spiritual civilization architectural complex "Plato Academy", the documentary compared the two, pointing out that "Plato Academy" is the cradle of Western civilization, the Palace of Learning is the birthplace of Eastern civilization, forming their own academic characteristics, the former pursues science, the latter focuses on humanities.
Starting from the perspective of globalization, this documentary uses video art to confirm the unique positioning of xuegong in the development of the world, observe the community of human destiny, show the cradle of oriental civilization from multiple angles, and show the soft power of Chinese civilization. Second, the documentary is also a re-examination of China's traditional history and culture, Liang Qichao summed up the great significance of the Jixia Xuegong in Chinese history with "before the air to the robbery, after the dust" to summarize the great significance of the Jixia Xuegong in Chinese history, the documentary re-imitates the historical grandeur of the Jixia Lecture: the Xuegong once gathered the world's sages, inclusive, accepted hundreds of sons and hundreds of families, coexisted side by side, free debate, and traveled to study and preach. Ancient Chinese political civilization flourished here, education sprouted here, ideological sources sprouted here, and cultural spirits such as the unity of nature and man, the application of the world, and the dialectical spirit deeply nourished the character of Chinese, cultivated the ideological and moral sentiments of the Chinese people, and influenced the destiny of the Chinese nation. Finally, the documentary is also a re-excavation of the Qilu civilization, the State of Qi once led the cultural trend of the Warring States Era, the Jixia Xuegong is a non-material cultural treasure given by the State of Qi to future generations, borrowing the window of the Jixia Xuegong, giving full play to the geographical advantages, cultural advantages and resource advantages, in the form of documentaries to achieve the dissemination of the image of Shandong.
"The mountains rise, the scenery stops", more than two thousand years ago, in the face of the turbulent and chaotic political situation, social problems urgently need to be solved, the world's students are out of order, a hundred schools of thought are contending, and the Minoru Xuegong is the epitome of this romantic and enthusiastic civilization, and its common spirit is like the stars of the long night of eternity, illuminating the source of the latecomers. Starting from the overall historical view, "Warring States University Hall of Jixia Xuegong" uses a compact and diverse narrative to understand the accident and inevitability of the cultural background of a hundred schools of thought, based on historical reality, constructing the national identity as a connector between national imagination and reality, with the help of the interactive behavior of communication, the popularization and daily characteristics of video art, the audience is "invited" into the rumbling Huaxia of the "spring thunder", feeling the pulse of the years, and serving the development of the national community.
(Yu Xiaofeng, Executive Director of film and television culture and art communication research center of Shandong University, contracted art critic of Shandong Province; Kong Yuyao, 2021 graduate student of School of Journalism and Communication, Shandong University)