Most of Han Yan's works have a consistent thematic style, often emphasizing the connotation and significance of his works for the family. Disease gives rise to many thoughts. This article attempts to analyze the symbols of diseases and the logic behind them from the level of disease narrative in his films. From the background of the attention of the times and the background of family companionship and the family conflicts caused by diseases are finally unified in the calm and indifferent of daily life, this questions the reaction of China's family structure and family relationship to changes expressed in the film.
As the existence of destroying human body and damaging mental willpower, the influence of disease can largely be directly shattered by an ordinary family. But disease is an inescapable existence in life. The pain caused by the disease largely stung the individuals at the bottom, and the insignificance and sadness of the individual were infinitely magnified at this time. So when we start to wonder because of illness, where do we draw our strength? The film "Send You a Little Red Flower" puts forward its own expression on this, starting from the great changes brought to the family by the disease, and giving a warm family affection constant power through individual reactions and family touches.
一、内心隐疾：疾病带来自我否定
1. Self-hostility to the outside world
Disease first exists in the life of the individual, and the impact on the life of the individual is the greatest. Many times it is difficult to associate the illness of others with the suffering of individuals. But the film gives the audience a second life, allowing this experience to be reproduced. When an individual suffers a huge external shock, the first reaction is to retreat to the fortress of the self, to close himself into a shell, hoping that he can have the effect of self-healing. Self-isolation has become a means of self-protection and self-healing, but often such measures have the opposite effect, causing more serious inner trauma to the subject. After falling ill in the movie, the male protagonist refused to communicate with the outside world at first, nor did he participate in rehabilitation activities such as patient gatherings. There is a resistance to giving up on one's own illness.
2. The resistance and resistance of the self to its own heart
The ego as an external confrontation with the inner interior of the self creates a conflict. The ego has the enduring power of introversion within itself, which is the source of the inner strength. When an impact is received, it shrinks inward for protection as a force within one's own core. Such behavior prevents oneself from suffering great sorrow and pain that is difficult to resist after excessive shocks, so as to achieve lasting centripetal strength in oneself. The ego also has a deep disbelief and disidentification with its inner strength, believing that it does not have the success of resisting failure, and more often it is a moment of abandonment.
二、疾病的治疗：外界对自我认知的干预
For individuals, warm family affection accompaniment gives different degrees of influence at the spiritual and material levels, and for individuals, it is often a force for self-struggle and resistance. But with the help of external forces, it is more likely to help the power of the individual to be reborn. External intervention is often an important source of unlimited power for individuals. In the film, he is cared for by the affection of his parents and by the love of Ma Xiaoyuan, who is also a patient. Family affection and love give the self a strong resilience at the same time, and when I want to give up on myself, it is the bond of family affection and love that gives it the infinite strength in my heart, making it strong enough to resist dark times. To some extent, only treatment with external intervention is complete, and only individuals under external intervention can have mature themselves. In modern life, most of the time most of the time exists alone, but they cannot exist apart from society, and they will inevitably intersect and connect with people in society, and the impact on the individual under the mutual promotion of the two is complete and rich. When the outside world intervenes in self-awareness, the individual completes the overall recovery, and there is more hope and possibility for the cure of the disease.
三、疾病叙事的美学意义
Since the invention of film, the meaning it brings to people from the spiritual level is diverse. The use of disease as a narrative element to promote the expression of the theme of the story and the contradiction of the characters' emotions has been around since the ancient Greek theater. In the film, the disease has two most direct effects, one is to directly break the protagonist's heart, so that the audience can reflect on its direct reaction. The protagonist begins to learn that when he has a disease, his self-reaction is to give up his survival and redemption, and his heart makes a great resistance to himself, and also has great resistance to the outside world. The second is to indirectly let the elements such as family and love react to the touch of the disease. The family became more united after the accident, and the parents, fearful of their fears, filmed the volg documenting their lives. The love element refers to its own experience and process to give the protagonist inspiration and support. The two are in a process of coexistence of reality and virtuality. The disease itself is objectively existing and real, but the feeling of the disease varies from person to person. The cruel fate that disease brings to the subject at the present moment is real, and the giving of pain that fluctuates over time over a long period of time is dynamic and a virtual existence. The beauty of virtual and real artistic conception exists in China's traditional aesthetic concept, which provides a foundation for the existence of reality, and virtual helps reality achieve aesthetic sublimation. The two live together and there is the creation of beauty.
In the movie, the existence of the virtual becomes the soul of the film. One of the functions of the void is to promote the emotional intensification of the audience, and to stimulate the second emotion in the film work, that is, the emergence and expression of deeper emotions of off-screen emotions. Let the audience also generate their own emotional feedback when participating in the emotional expression in the film. The virtual also has the effect of leaving white space, and in many moments of the film, it does not flatten and directly express the protagonist's resistance to the dilemma, but retains the narrative space. The absence of narrative further strengthens the performance of narrative. Outside the camera, let the audience think and feel the pain and entanglement of the protagonist, and further generate empathy. In fact, it highlights the specific circumstances of the incident. It made the audience believe in his presence even more, further enhancing the sense of realism. The charm of movies lies in creating life, trying to use everything to approach and restore the most real world. How the audience believes and agrees that the emotions of this narrative really exist on the screen, or the real world that exists off-screen is also playing out day after day. The interaction between virtual and real promotes the strengthening of the narrative of the film text and the display of the core.
In the movie, the metaphor of disease brings people many different meanings, giving people deep imagination and will. 在早期电影时代疾病的隐喻更多是反映出社会的病态与时代的痛苦。 Individuals do not have the value of their own existence and the basic life security in secular life, and the whole society is pathologized and full of decay and pain. The insignificance of the individual is getting more and more painful. Disease is deeply connected to the individual with the pain of the times. After the disease occurs in the male protagonist in this film, what makes people feel is a warm family affection to meet the face of the disease together. Even though the sadness and pain are still there, they are always surrounded by love. There is no high-pitched Zhuang language, swear to death to how the disease hurts. 反观其表达的是一种淡然与自洽，在疾病发生之后仍然保持内心镇定的力量，保持自己找爱与自由的勇气与力量。