Yellow Shuqin
Huang Shuqin directed "Siege of the City" in a wheelchair
Huang Shuqin visits Qian Zhongshu and Yang Dai
"Man, Ghost, Love"
Huang Shuqin when studying at the Beijing Film Academy ◎ Junlei NNHR
In the spring, when a series of unexpected death news was encountered, seeing another obituary, still frightened and painful, Haipai female director Huang Shuqin suddenly disappeared during the Valley Rain Festival in the year of Nongyin. While the public city is still silent, the drizzle and birdsong in the natural season continue to emit a quiet and tenacious memorial.
One
In 2017, Director Zheng Dasheng's work "Village Drama" was released, exploring the synchronic history belonging to a national memory from the story of oil pressing in a peanut field. The original story comes from the Zhengding writer Jia Dashan, who did not have many works in his lifetime, but his part was rooted in the depths of people's lives, and his pen gave birth to thousands of looks of "Mengzhuang Ecology". Zheng Dasheng, a southern director who grew up in a modern urban life, unusually accurately shows the northern farmland on the big screen, and one of the artistic tools he relies on is the visual deformation of traditional opera stage art, and creatively reflects and expresses history with eye-catching imagery with rich representational significance.
While people applaud the creativity of new works, a dynamic extension line that bounces between family history and the sequence of works attracts more attention. Isn't it? The film "Man, Ghost, Love", launched by the Shanghai Film Studio in 1987, is the awakening of gender consciousness after Chinese films entered the modernization of image language, and it is also praised by Professor Dai Jinhua, a cultural research scholar, as the "first" and "only" double one. Huang Shuqin is the director of "Man, Ghost, Love" and the mother of director Zheng Dasheng. As the extension line further down, you can also see Huang Zuolin, the playwright and director of the Shanghai Lonely Island Period, as well as Huang Zongjiang, Shi Hua, etc., who are united around him, and of course, qian Zhongshu, Yang Dai and other scholars and literati who have sent charcoal to help him in the snow.
Therefore, the real work of art is not isolated, but behind it runs a true and rich human story, constructing a world of mutual comfort and affection. Good works are not only very fortunate to inherit a deep spiritual legacy from their parents and elders, but also more generously open to future generations, with redoubled efforts and hopes.
In 1991, before the TV series "Siege of the City" was officially launched, the sample film was first test screened in the Liberal Arts Building of Fudan University, and the popularity of the scene has become legendary. Whether it is the concentration of the viewers in the screening, or the fiery discussion of the aftermath of the temporary end of an episode of the story, it constitutes the cultural aspect of an era: to the truth, to seek beauty, to be unpretentious and frank in the pursuit of ideals, in the tasteful and difficult creative practice to show the peak of local film and television creation.
What is even more unexpected is that director Huang Shuqin was invited to the Fudan campus after the full screening, and she wanted to hear the real feedback of the young audience directly without any distance. As a result, Classroom 3108, which had hosted Ronald Reagan's lectures on Shakespeare's plays, welcomed director Huang Shuqin and her historical TV series. The young people of the 1990s showed all-round concern around the drama inside and outside the play, especially for the literati in the real national history. So that the entire interview greatly exceeded the scheduled length, so that the director who had just passed the year of knowing his destiny at that time rekindled his enthusiasm for creation, and overcame greater difficulties and pressures in the follow-up time to complete the controversial work "Painting the Soul".
Two
Changes in the performing arts environment are as elusive as the tastes of young people, and perhaps only gradual aging is the common fate that every creator must face. From 1994 to 2004, director Huang Shuqin completed plays and films from "Debt of Iniquity" to "The Cause of Laughter" in another ten-year creative period. The former once again set off a national viewing boom like the screening of "Longing" in the Shanghai Lane, and the enthusiasm of that scene became the memory of director Xu Zheng, and the mirror image of Yoshimitsu Katayu was reproduced in the short films he shot for the "My Hometown and Me" series.
It is lamentable that the biological law of gradual aging has never been shaken by the artist's achievements. Just like anthony Hopkins starring in the good film "Father Trapped in Time", director Huang Shuqin gradually did not recognize those who loved her.
After the new century, Huang Dao's figure began to be rarely seen in the film activities in Shanghai, but the greetings around her did not diminish at all. When Huang Dao herself is not aware, everyone often exchanges their understanding and concern for her recent situation between meetings and work, knows which relatives, friends, and colleagues have just made a visit, and knows that she has been well taken care of. It wasn't until one meeting that another literary and art worker, Teacher Tang, said that she had only come out of Huang Dao," and huang Dao had spent "Guan Guan Chenguang" to recognize who was in front of her. And when saying goodbye, Huang Dao asked in a loud voice: Xiao Tang, in case one day, I can't recognize you, how can I do it?
Yeah, what to do? When a brilliant female creator completes her lifelong journey, but is blocked by the thick fog of memory, what can help her return to a clear daily life like she helped the people who have endured history to express their personal feelings? That was the spring paradoxical moment when Su Wenyun and Fang Hong gradually returned to the isolated island from overseas in "The Siege": "That spring, the time was particularly good. This spring stirs people's hearts like the gum flesh of a baby when it comes out of its teeth, and it is tickled by a kind of vitality. It is also the juvenile perspective of An Yonghui, a descendant of Zhiqing in "Evil Debt", when he came to Shanghai to look for relatives from Xishuangbanna: "Hey, this is the real Shanghai!" A lot of high and low buildings, a lot of chimneys, in the sun, very good-looking. ”
The skyline of the city, which was first industrialized in China, is indeed very good in Huang Dao's lens, and in one phenomenon-level national series she has completed in the mirror, the audience happily feels the interesting and clear daily life. Moreover, a hard-working creator who comes from an artistic family and takes the true people's nature as his basic belief, Huang Dao's understanding of the characters has always adhered to the sharpness of personality and the temperature specific to each individual. The actors are young and old, and the roles are no size, and each image fully shows a unique and vivid face and irreplaceable value in the image narrative. Just like her consistent principle in casting: the choice of full cast should be done for decades without regret.
Director Huang Shuqin's self-questioning does not regret it, and anchors a monument for contemporary film and television production. She doesn't have to worry about not recognizing the endless stream of remembrancers, because the eyes of the remembrances have long been the true traces of sincere art.