This year's New Year films are blooming in a hundred flowers, I don't know which one everyone watched this year, and what are the impressive pictures?
Uncle Oxygen was fascinated by the Yaoqin girl in "Manjiang Hong" anyway, and Uncle came out of the theater to check the cast list only to find that she was just a 21-year-old girl, who could perform ruthlessness and beauty that did not fit her age, and let the whole cinema shout as soon as she appeared, really having some skills on her. (The beauty of the picture is completely different from the big screen!) No spoilers, everyone go to the movie experience by themselves, hehe)
sighing, "This year, the movie has finally returned to life", Uncle Oxygen found that the theme of New Year films has developed all the way from its birth to today's is quite worth talking about:
1993, "East Becomes West"
Whether it is the early Hong Kong film's "all overfire, all crazy" or the bold attempts of domestic entertainment in recent years, New Year films have their own charm, and the female characters in them are easier than ever to shine and become their own factions.
The upcoming "Disappearing Her"
Today we will talk about the legendary New Year film aesthetics, and the classic female group portraits among them:
01
The hot spring has been vigorous for forty years
New Year films, as movies released during New Year's Day and Spring Festival.
It mostly caters to the audience's common psychological needs for happiness and relaxation during the New Year festival, especially the Spring Festival, and is destined to be generally lighthearted and humorous, with strong viewing and entertainment.
Its aesthetic style has also followed its evolution, with strong characteristics of the times:
Xiangjiang water heating, indulge in erotic sound. The "New Year film" originated in Hong Kong, which was at its peak in the 80s of the 20th century.
Known as the "Hollywood of the East", Hong Kong entertainment has both the involution of competing for fame and fortune and the real warmth of human feelings, and at the end of each year, some familiar stars will spontaneously get together and shoot a few lively and joyful films for the audience regardless of pay.
In the glitzy world of the earliest Hong Kong-style New Year films, beauty is laughter in banknotes, happy rivers and lakes.
The bright colors of golden brilliance, red and purple can burn the eyes of the audience, curly hair and leather clothes, crisp breasts and red dresses, handsome men and beautiful women show their charm frankly and without scruples.
Fast-paced, tacky, cool ending, Hong Kong-style New Year celebration is like a colorful heavy taste candy, which is the most direct and explosive sensory stimulation.
In 1997, "Party A and Party B" was released, and the first New Year film in the mainland film industry was a big hit.
The influence is even so extensive and far-reaching that it directly creates the "New Year file" of internal entertainment. The ending sentence, "1997 has passed, I miss it" is forever recorded in Chinese film history.
Feng-style New Year, who once led the film industry, has a fresh tone and a long plot, and often combines love and comedy, wit and philosophy.
Like a dish of peanuts, the first taste is just to pass the time, chewing a little lips and teeth. His royal male protagonist, Uncle Ge, is funny and charismatic, forming a wonderful conflict and harmonious beauty with the kind of sassy and fashionable sexy big sa honey he loves.
The relationship between lovers is also young and innocent. The story of ordinary and simple little people coupled with the plot and psychology like "directly pulled out of living real life", Feng's New Year greeting makes people smile, and uses people's empathy psychology to create beauty and warmth.
After the 10s of the 21st century, the era of all-staff entertainment arrived, and countless so-called grassroots that played through the national nature of the Internet stood out.
The aesthetics of the New Year films of this period can be described as learning from everyone's strengths, combining the characteristics of the above two, which not only fully satisfies the audience's sensory stimulation, but also takes real life and is full of human fireworks.
The content theme and expression form are also more rich and varied, whether it is the particle ink animation of "Deep Sea" or the bold imagination of "The Wandering Earth", youth, popularity, and blood are the eternal main themes.
Flowers and brocade, fire cooking oil, looking back at the 40 years of the New Year, its aesthetic development and changes also feast the audience's eyes.
02
A gathering of heroes, a peerless old dream
In the past forty years, a new generation has replaced the old. The women in the New Year film also changed their shape on the basis of maintaining commonality.
From the typical image comparison of their generations, we can glimpse this change and commonality:
In 1985's "Heavenly Official Blessing", the heroine Nalan Qiongyao played by Wang Zuxian, as a talented and independent-minded lady, was dissatisfied with entering the palace for the blind marriage of a concubine and secretly went down to Jiangnan to play, but with the emperor who also sneaked out without knowing each other, the two finally became dependents and did not forget the past, and then went down to Jiangnan...
The ancestors in the film are tall and beautiful, and the men's appearance is also dashing and unruly. When they amuse each other and ignore the image, they are very generous goddesses.
The emperor played by Er Dongsheng is even more soulmate, rooted in the soul level of knowing each other, free and equal.
After knowing his true identity, he is still not humble and unassuming, and intends to bid farewell to the capital without saying goodbye, playing the identity terrier as a couple's fun, and is also the dominant party in love.
From "Let the Bullets Fly" to "Private Order", the heroines of the 10s are usually professional women who have come to the forefront of the times, keen to show the real status of women's existence, gender care.
Whether it is to hold the altar or look like a demon king, the image of these women is beautiful, sassy, foreign, modern, in a good youth, sharp teeth, smart and playful.
Cold and bright
The image of women created by the new generation of literary and artistic creators who came out of the people is more progressive.
the blue and white two snakes of "I will always accompany you" in "The Origin of the White Snake"; Back in the past, Li Huanying, who strives to make her mother who loves her mother happy, the female image in the New Year film is more and more united and self-consistent.
We can see that despite the passage of time, they all have this in common:
No matter what era it is in and out of the film, the woman herself is a symbol of being bolder and more confident, fashionable and independent than usual.
Yue Meiyan, played by Asa in "The Great Saint of Love", bravely pursued love when she was an ugly woman who was stupid, but was disgusted by Tang Sanzang, who did not know that she had already deep-rooted in her love, and after recovering her true body, she could calmly let go of her belated affection:
The most simple and authentic, the most emotional and the most passionate.
If you want to chase love, you will immediately pursue love, if you want to take risks, you will risk everything, and the women in the New Year films are purely around their own desires like the Spring Festival itself.
Like Cecilia Cheung's Liu Yue'e in "Hedong Lion Roar", she has an almost willful sense of control and sovereignty over everything she has:
The ugly effect, also known as the mistake effect and the foot-toe effect, means that people with mediocre talents will not be admired, and people who have no shortcomings at all may not be likeable.
The most likable characters are shrewd people with minor flaws, a phenomenon also known as the ugly effect.
The goddesses in the New Year film are contrary to their usual and glamorous image of the flower of Gaolin, which does not eat the world's fireworks, and their uncharacteristic exaggerated performance and unstinting to use appropriate trickery and funny plots to play strange and ugly have narrowed the psychological distance with the audience.
"Fairy under the ordinary", naïve and funny without losing its playfulness.
Three thousand miles of old dreams, these beauties are like the traditional Chinese Zhou Yi culture, chasing the times and leading the trend. Change, prosperity, change, joy, like the firecrackers of the Spring Festival, ignite the new year.
03
Start the new year
New Year films can endure for a long time, in addition to catering to the taste of the people and being relaxed and cheerful in their own themes, the pleasing of many beauties in the film is also a major focus.
From a practical level, we can also refer to their in-film looks to easily get off to the New Year!
1. Makeup
Uncle Oxygen found that the female star in the New Year film had makeup based on the all-inclusive eyeliner of the Hong Kong style, and adjusted the thickness angle through blending, producing the eye wave charm of "lifting a breath".
This concept is even reflected in the role of Yaoqin, who surprised many audiences in this year's New Year film "Manjiang Hong".
Their eyebrows are often very vibrant natural thick eyebrows, which are feminine and festive enough by rendering thick and hairy flu.
The makeup of the vivid women in the New Year film is actually quite ostentatious, the color is bright, and they will not deliberately pursue today's "transparency".
In Zhang Min's version of "The Legend of Relying on the Sky and Slaying the Dragon", she wore red eye shadow to deeply smudge her eye sockets, and her eyebrows were more curved than ever, which was completely different from her usual cold eyebrows.
2. Expression and body management
The smile of the woman in the New Year film may be the most in line with the national aesthetics, stretch, and joyful face that everyone can see all year round.
When they laughed, the eyebrows and eyelids were lifted up hard, and the original very close eyebrows were instantly opened, the eyes were only bent but the upper eyelids were not pressed down, this kind of laughter was more like a laugh of joy and surprise.
If you relax your eyebrows, lower your upper eyelids slightly and smile loosely, your face may become more beautiful, natural, and elegant, but you will lack the joy and surprise that is very popular with the audience.
You can compare Maggie Cheung's laughter in "Family Happy Events" with usual, her smiling eyebrows in "Family Happy Events" are actually slightly provoked, but she does not deliberately stare at her, there is an innocent appeal.
This "laughing aunt" style of dashing and openness is really pleasing.
What is the most important thing about the Chinese New Year? Spirits!
Uncle Oxygen feels that the tall, plump girl, with a convex and concave figure, echoes everywhere, and has a sense of rhythm and movement is a kind of spirit;
The clumsy comic feeling of no rhythm, no charm and not very good physical coordination, but also has an amiable cuteness.
The most important thing is to let go, replace the small actions with the overall big action, and the most important thing is to have fun. The famous scene of Yuen Yongyi playing in "The House of Wealth" is very coordinated and dashing in the overall use of the body.
More impressive than her daily quirky little movements:
3. Dress
It is different from the daily color matching of TV series, except for the flower shirt, the rest is almost one or two large color blocks to the end:
In the New Year films, especially the heroines under the big screen, the colors are exaggerated and avant-garde, the high-concentration colors collide with each other, and the high-grayscale colors coordinate with each other.
They love to use soft warm color contrasts to reflect the excitement, but rarely really use the bright colors of red and black.
And the shape is full of human fireworks.
Typical, Maggie in "Family Happy Events", white turtleneck bottom sweater + teal checked shirt + bean-green strap skirt with cross sweater chain:
There is also a black turtleneck leggings + brown tweed blazer + black trousers with a brown wide belt + silver metallic watch:
See, even the goddess, who has always been sassy and cold, likes to use warm colors in the New Year film, and she also loves turtleneck undershirts with a strong sense of daily life.
Textured, heavy, and even noticeable interlaced shadows on the surface of the fabric, contrast knitwear, plaid shirts.
Compared with the simplicity of daily life, the essence of the New Year film is to wear a sense of layering.
Too sassy and feminine style, but it is difficult to integrate into the atmosphere of family celebration such as the Spring Festival.
For example, it's hard for you to believe that Li Jiaxin dressed so formally, so well-behaved, and such a big sister is giving you joyful New Year greetings:
Of course, even if you are tightly wrapped, you can't really give up your body expression!
Like Honggu's one, people open their coats to reveal their pinched waistline:
Today, we like New Year films and miss New Year movies, essentially because the women in them are becoming more and more progressive, happier and happier, and more and more representing a better life expectation of "tomorrow will be better".
At the turn of the century, rumors of the end of the world were always circulating in the streets.
But even then, people still had the expectation of "waiting for the New Year to watch New Year movies". New Year films, which mean a warm sustenance, are very modern adult fairy tales.
I hope that we can also embrace the original intention of the old days, day after day, year after year, to the distant sea.