About the Author:
Yang Xuanhua
, female, beijinger, associate professor of the School of Sound of Beijing Film Academy, master tutor, director of the Institute of Theory of China Academy of Film Music, mainly engaged in music education, film music history and theory and other research;
Dong Man, female, from Xuzhou, Jiangsu Province, is a master's student at the Institute of Theory of China Film and Music Research Institute of Beijing Film Academy.
As a special cultural product, film has gone through a long process of 126 years. Looking back at the development of Chinese film music, from the early process of combining with pictures, plots, and characters, the use of music is unconscious and conscious awakening; the lyrical music of the scar film period conveys reflection on society; and then the rising fifth generation of directors use music to pay attention to people's livelihood and focus on promoting national characteristics, and the sixth generation of directors use a large number of popular songs to highlight their personality... The music embodies the different characteristics of different periods and also plays an important role in revealing the theme of the film. Since the 1990s, with the deepening of China's reform and opening up, Chinese film music has shown a situation of a hundred flowers. With the sweep of the wave of globalization and the increasingly stringent standards of audio-visual technology, Chinese films not only pursue the visual effects of pictures, but also "listening" has become an important outlet for them to cope with the global competition of the film industry. [1] Since 2000, the cooperation between Chinese directors and overseas composers has become more frequent and not uncommon.
I. The Origin of Overseas Composers' Participation in Chinese Cinema
After entering the 21st century, the Chinese film market has developed rapidly, becoming the world's second largest market after the United States. More and more transnational co-productions have entered the audience's field of vision, and the film industry has begun to enter a new stage of mutual penetration, mutual influence and mutual borrowing. At the same time, many overseas composers have frequently accepted invitations from Chinese directors to participate in the production process of Chinese local film music. Through analysis, it is not difficult to find that the participation of overseas composers is mainly due to the following reasons:
(1) The pursuit of directing style
The musical style of a film will be affected by many factors, the most important of which is the director's artistic style and aesthetic preferences.
As an abstract, pure aural art, music tends to be more directed when combined with images. Film directors and composers can be confidants, partners, and even "natural enemies" of each other. [2] In the late 1950s, the rise of young film critics such as Godard and Truffaut ushered in a new chapter in the "New Wave" movement of French cinema. Influenced by the modernist trend of thought, they all believe in the theory of "author film", believing that film creation is completely like literature, which is an expression of the individualization of the "author" (director).
For example, in china's sixth generation of directors, the rootlessness and sense of wandering of individuals under modern civilization have become their consistent tone, and the audiovisual language and film concepts are very different from the past. Iranian composer Peyman Yazdanian is particularly popular with Chinese literary film directors, who do not stick to stylized creations and interpret the inner world of the characters with delicate and sensitive musical vocabulary, which resonates with the audience.
In "Guanyin Mountain" directed by Li Yu, the scenes of Nanfeng, Ding Bo and Soap climbing the train are impressive. When the train passes through the tunnel, the light and shadow hit the faces of three confused young people and even slightly distorted due to excessive (degree) exposure (light), and the soundtrack of the movie "Buddha Mountain: Part VI" interweaves the various timbres and electronic percussion of the synthesizer, fully releasing the wandering and longing of youth through the screen. [3] In addition, director Li Yu also used a number of rock and folk songs in the film, and the sound and shadow were integrated, bursting out of special significance.
Peyman is good at deconstructing and reassembling music, and he has also collaborated with director Lou Ye many times, and "Spring Breeze Drunken Night" and "Floating City Mystery" have won the Best Original Music Award at the 47th and 49th Taiwan Golden Horse Awards respectively. Li Yu and Lou Ye's past cooperation objects were almost all foreign composers, and this international musical taste is a bold exploration of the film's musical style.
Music as a special sound language is an important part of film expression, so many directors with high musical literacy will have their own composers. From Luc Besson and Eric Serra and Damien Chazelle and Justin Hurwitz in the West to Wong Kar-wai and Merlin Shigeru, Miyazaki and Hisaishi in the East, the two sides have worked together with a high degree of tacit understanding to promote what the film wants to convey.
(2) The need for film content
As an important organic part of the comprehensive art of film, the creation and conception of film music is influenced by many aspects such as film content, theme, structure, and characteristics of the times, and the picture gives it specific and unique aesthetic characteristics. "Big Fish and Begonias" contains a strong classical charm from the scene to the music, and the retro electronic sound that shows the heroine's confused spirit in "Second Exposure" shows that the style of the film determines the style of music, and the style of music will also affect the formation of the style of the film.
The 2003 martial arts action film Heroes of Heaven and Earth was directed by Ho Ping and composed by Indian musical genius A.R. Rahman. Four years of painstaking filming and post-production have enabled "Heroes of Heaven and Earth" to catch up with the first train of Chinese cinema into the blockbuster era. In the film, Rahman integrates instruments with strong oriental colors such as hindu flutes, huqin, and taiko drums into Western orchestral music, bringing us a strong western style, which not only coincides with the Silk Road where the story takes place, but also perfectly shows the chaotic heroism of walking in the Gobi desert. The ending music, "The Golden Era," adds a myth to the film, as if everything can be redeemed by some supernatural power in religion, and just when we thought we understood what a hero was, the director immediately destroyed our faith with his own hands.
In addition, music can also shape the character of the character, making the image and mood more full and three-dimensional. Xu Jinglei's 2002 film Letter from a Strange Woman was composed by Lin Hai of China and Shu Kubota of Japan. The opening song "Pipa" takes us back to Beiping in 1948, and the melody of the gentle resentment resembles the heroine's inner monologue: "Love has always been a matter of one person, I love you, but it has nothing to do with you." In the film, there are two scenes of the writer and the hostess bus, and although the pictures are similar, the musical expression methods are completely different, and the heroine's state of mind has long been changed.
In "The Golden Armor in the City" composed by Shigeru Merlin, the music plays the role of scene rendering. In the sections where everyone greets the king's return to the palace, the pharmacy's large-scale pharmaceutical, and the Chongyang Festival ascends to the top of the heavenly circle to drink, etc., all use a full-fledged bass chorus to set off the solemn and solemn atmosphere; the passage of the little sister drumming in "Ten Faces Ambush", the rapid drum beat of "The Echo Game" symbolizes the tension in the characters' hearts and the tense atmosphere that is about to erupt, which not only highlights the taste of Chinese martial arts, but also makes the scene more penetratingly restored.
It can be seen that good film music can extend the specific era environment and dramatic plot of the film, and use the sound of the strings to express the meaning. As an emotional expression, music can easily summarize the personality characteristics and inner world of the characters, and can also quietly render the atmosphere under a certain scene and increase the visual tension of the picture.
(3) The needs of domestic and foreign markets
As a cultural industry, film is an important carrier of external dissemination. In recent years, with the rapid development of the international film market, it is imperative to integrate film resources, create a unified film symbol, and strengthen the external dissemination function of films. [4] In order to allow Chinese films to occupy overseas markets, many directors have chosen overseas composers for high-cost, large-scale films.
In this era of consumerism and market economy, the commodity attributes of films are becoming more and more obvious, and it is an indisputable fact that commercial selling points are formed by relying on the social effects of composers. Take the Japanese composer Hisaishi Jean as an example, he and Jiang Wen have collaborated on the films "The Sun Also Rises" and "Let the Bullets Fly", and the theme music of "The Sun Also Rises" runs through the two films, and the humor contains hope for the future. Whether it is the combination of African drums and string wood pipes when the crazy mother can't find embroidered shoes to climb the tree, or the bullets flying out of the white horse and losing the reins, Zhang Mazi and a group of hemp bandits chasing the train, the music is very suitable for the character image. As one of the Japanese soundtrack artists familiar to fans, Hisaishi's music presents a strong dramatic tension, he has successfully opened up the commercial market of films with music, in addition to directors and actors, his name seems to be able to become a box office guarantee, which provides more possibilities for Chinese films to enter overseas markets.
In the domestic market, the unique creative characteristics and diversified styles of overseas composers can make Chinese audiences feel a sense of separation and freshness. For example, the war film "Sky Hunting", many people do not like this kind of film, but because the German composer Hans Zimmer is willing to contribute to the box office; the Chinese novelist Jiang Rong's novel adaptation of the same name of the film "Wolf Totem", the music is written by the Hollywood soundtrack master James Horner - Horner has won the attention of global film fans with "Burning Love Years" and "Titanic" and other films. Transnational cooperation such as this not only meets the aesthetic needs of Chinese audiences, but also caters to the appreciation tastes of music fans around the world, who unconditionally support the composers they love and worship, and to some extent, such a choice has played a positive role in promoting the commercialization and marketization of films.
Second, the creative characteristics of overseas composers
Music is a unique auditory language, with a strong regional and national nature, and the differences in social and cultural backgrounds have created differences in music creation techniques and aesthetic tastes in the East and the West. Eastern music is subtle and introverted, and the atmosphere is vivid; Western music is intricate and majestic. Each composer may form a unique creative style due to different family environments and growth experiences, and have their own obvious traces in the collocation of harmonic colors, the choice of orchestration techniques, and the grasp of structural rotation.
(1) Awareness of serving films
The biggest difference between film music composers and serious music composers is that the film soundtrack is limited by the picture, plot and characters, and cannot have a thousand thoughts and imaginations, and must be combined with language, sound and other sound elements to jointly constitute the sound expression of the film. Therefore, a good composer must have a sense of "identity" and "service", learn to retract freely, and consider music from the integrity of the film.
Thomas Newman has always adhered to the position that music serves the film, advocating that composers must restrain their self-consciousness and desire to express themselves when creating, and play a good role in supporting the film, rather than trying to make a big splash in the film. Because of such a rare artistic stance, his works are perfectly balanced between music and film.
Rachel Portman won the 69th Academy Award for Best Original Score for the film Emma, and she is also the first female composer in Oscar history to receive this award. The reason why her music is touching is that she asked her to participate in the creation before the film began, fully understanding the plot ups and downs and character personalities in the play. She stressed that only by understanding can we grasp the blood of the story and the characters, and because of understanding, her music can always fit perfectly with the film. As the first cooperation between Rachel and Chinese films, "Snowflake Secret Fan" is based on China's traditional folk custom "Women's Book" and constructs the female relationship between the past and the present two pairs of old people through details such as foot binding, marriage, and female songs. In her score, she uses Western instruments such as flutes, violins, and xylophones, as well as traditional Chinese instruments such as erhu and zither, outlining the unique virtuousness and gentleness of women.
The domestic animation film "Big Fish Begonia", following the success of the prototype "Big Sea" using the soundtrack excerpt of Japanese composer Yoshida Jie, the director polished it for fourteen years and chose Yoshida Jie again to compose the film. In this era of rapid change, the two creators are willing to invest so much time and energy to polish the old dream, which is a rare sincerity! A media member once asked Yoshida Jie, "The soundtrack is a kind of creation that requires a lot of communication, do you feel that the cost of communication is too high?" Yoshida replied, "Making a soundtrack is like weaving with warp and weft threads, which requires careful calculation and design, so it is important to understand the customer's requirements and communicate." ”[5]
For film music creation, the soundtrack master Horner believes that composers are like painters, music is just their palette, musical tunes, instrument categories and performance patterns are all colors on this palette. According to the specific needs of the film, the composer will choose the most appropriate pigment to paint, plain or colorful, black and white or color.
(2) Each has its own unique composition technique
In the process of learning from and learning from the fine works of their predecessors, many scoring masters have gradually formed their own distinctive musical vocabulary and composition techniques.
Horner, as an uncompromising American academic film composer, received a classical music education from an early age, and most of his musical conceptions were completed through large orchestras. Similarly, Horner is also very good at using electronic synthesizers and national instruments with strong local characteristics (especially the Irish elbow bagpipe in irish style), which greatly broadens the expressiveness of the film. Although the film "Wolf Totem" scored by him incorporates elements of the Mongolian Three Treasures (Horse Head Qin, Long Tone, And Humai), many of the heavy scenes are still the traditional Western soundtrack forms, and the music not only maintains the national tradition, but also reflects the characteristics of internationalization.
Needless to say, Hollywood's strong position in the world film industry includes the soundtrack field, although its musical standards were created by those German and Austrian immigrants, but more often they are still serving the american values as foreigners. In the end, it was not they who assimilated hollywood, but Hollywood assimilated them. [6]
However, there is the rise of a group of European and East Asian soundtrackists who compete with Hollywood with a keen sense of musical touch and unique musical taste: the British composer Rachel combines the regularity of classical music, the simplicity and variety of folk music and the popular romance of popular music, and she prefers the fresh configuration of woodwind sets and strings; Howard Bernstein was the pioneer of the British electronic retro movement in the 1990s, and the "Secondary Exposure" and "Everything Grows" with Li Yu made extensive use of dissonant harmonics The timbre of Cheng and Pad expresses the "evil nature" in the subconscious of the characters; Han Han's debut work "After The End" is directed by Takeshi Kobayashi, who establishes the film's musical themes as "personality independence" and "free choice of life path". Takeshi Kobayashi uses minimalist creative techniques to interpret this journey of confession and farewell for the audience, and the music is fresh and clear.
As we all know, works of art reflect the heart of the artist. The colorful composition techniques of the soundtrack artists also show their distinct personalities and unknown inner worlds, and at the same time, they also show different film forms of a specific era from the side.
(3) Presentation of styles with different forms
What is style? Different composers have different interpretations. In the history of music, since the Renaissance, the concept of "artistic style" has become a core concept of musicians. The Dictionary of Art mentions film music style is an artistic feature that is unified in content and form expressed in film music. It is the composer's understanding of the theme of the film, the outline of the psychology of the characters in the film, and plays an important narrative and playwriting role.
Different experiences and personalities have created different musical styles of composers, and the study of their musical styles also has a certain practical significance. Ennio Morricone, one of the most prolific film scorers of the 20th century, introduced the "Italian Western" style to the world through a "bounty trilogy" with director Leone, and eventually won the 88th Academy Award for Best Original Score for "Eight Wicked Men" in the world. Due to his wide selection of materials and varied elements, audiences with different tastes can always find their favorite genre in the large number of films he has scored. Of course, most composers have their own clear musical styles and expressions, such as Zimmer's electronic symphony, Rahman's Indian style, or Peyman's cunning, and they will take over the right genre of film for their own strengths.
Influenced by multiculturalism since childhood, Displatt's creative style has both European and American flavors. As a French composer, his international success comes from his embrace of diverse artistic concepts, which balance the stylistic differences between Europe and the Americas and do the art he pursues in his heart. In 2006 and 2007, Displatt composed music for two Chinese-themed films, "The Veil" and "Color Ring", he deliberately blurred the characteristics of the era and regional characteristics of the two films, and paid attention to excavating the relationship between the characters and hidden emotional changes, so the works were known as the "Impressionists" in music, cold and profound.
"Painted Skin I" and "Painted Skin II" both invited Japanese composers to complete their music creation, as an oriental neo-magical film, the music part deliberately blurred the regional characteristics, combined with the specific plot of the selection of a variety of oriental instruments to carry out a mixture. The love theme melody line of "Painted Skin" is thin and long, although it does not have the heavy sense of Western blockbuster music, it adds a bit of poignancy and sadness. From the theme of the film to the film music, the philosophical interpretation of the "appearance" and "mental phase" is not only from the ideology of the East but also contains a certain mysterious color, spreading the tone of Chinese culture to the world. [7]
Composers from different backgrounds have their own unique creative styles, from France's Displatt to Japan's Fujiwara Yuro and Ishida Katsuhiro, who have made subtle harmonies for the thick masculinity that has shrouded Hollywood film music for many years, and have also supplemented and expanded the diversity of world film music.
Third, the significance and enlightenment of the influx of overseas composers for the development of Chinese film music
The Frankfurt School believes that cultural production represented by Hollywood marks the entry of capitalism into a post-industrial stage, and this reform transforms material production into production in the field of symbolism (ideology), which is still fundamentally a logic of late capitalism. Under the strong impact of Hollywood, although China has become the world's second largest film market, and high-grossing works in domestic films continue to emerge, there are few works that can truly convey chinese cultural demands and spread cultural values globally. Most of the time, Chinese films are just "going out" at the media level, and they have not really entered western audiences, nor have they achieved the comprehensive "internationalization" of the film industry. [8]
(1) Learn from each other's strong points and complement each other's weaknesses, and be compatible with each other
The domestic commercial blockbusters in the new era carry the mission of seeking to win the international status of Chinese films under global economic integration, so all kinds of work must make maximum use of various resources. There are countless classic cases of overseas composers cooperating with Chinese films, and they have played a positive role in the overseas promotion of domestic films. And Chinese films come from different regions. The cooperation of soundtrack artists with different cultural backgrounds also reflects the characteristics of Chinese culture being inclusive and inclusive.
Chen Kaige's 2004 film Wuji, as a fantasy commercial blockbuster, was scored by German composer Klaus Badelt. In his conversation with Chen Kaige, Klaus tries to free up his previous inertial thinking to understand Chinese sensibility. In the birdcage, Kunlun saves the city, the simple guzheng is combined with the delicate violin, one person runs and one person flies, and the song "Princess Kite" achieves the ultimate in romance. Klaus traveled to Yunnan many times during the creation, and the ending song "Freedom of the War" is an original Yi folk song, which he completely recorded and adapted as the theme music of the Snow Country. Since the material obtained from the collection far exceeded the needs of the film itself, Klaus successively dedicated his collection to the Chinese market free of charge in the following years.
In 2017, Chen Kaige once again issued an invitation to him to score "The Legend of the Demon Cat". The perfect fusion of Eastern and Western musical elements, such as The Hu Whirling Dance of The Dancing Ji Yulian, the "Neon Dress Feather Song" danced by Chunqin, and the drumming of Xuanzong greeted An Lushan, allowing the audience to see the prosperity of the Tang Dynasty. From Klaus's two films with Chen Kaige, we hear the wonderful chemistry of Chinese and Western music. Good works of art must be mutual achievements, and Claus explains with excellent film scores how to maintain the independence and integration of art under the premise of respect.
In exploring the internationalization path of China's film and music industry, we do not exclude foreign aid. But more importantly, we must take into account the excellent local composers, and use both as the backbone of Chinese film music. In the history of Chinese film, there have also been many soundtrack works that have gone deep into the body and mind: in the 1980s and 1990s, Zhao Jiping composed "Red Sorghum" and "Overlord Farewell", and tan Dun's "Crouching Tiger, Hidden Dragon" and "Hero" created by Tan Dun in the early 21st century have all set off waves in the international film world, and the cultural elements contained in the film and the unique charm of the music itself have played a role in cross-cultural communication. Therefore, the rational and effective use of film music, an important element of communication, is an important part of the development of Chinese film.
(2) Introduce the mature industrial production model of film music into Chinese films
As early as the day of the film's birth, the French Lumière brothers sold movie tickets and used film screenings as a commercial activity. Therefore, music, as one of the important elements of film, must also serve commerciality. Although allowing foreign composers to participate in the creation of Chinese films is an objective fact caused by the acceleration of the process of globalization and the diversification of the market, why have a large number of domestic films since the new century, such as "Myth" and "Ip Man", been covered by Japanese and Korean composers? China, Japan, and South Korea belong to the same Asia, and the cultural background is the same origin, and what causes local composers to intermittently aphasia is a question worth pondering.
First of all, after World War II, the United States had a huge influence on Japan, from diplomatic politics to economic culture, fully penetrated. As one of the first countries to join the WTO, South Korea agreed to abolish the policy of restricting film imports during negotiations with the United States, and the menacing Hollywood films had a strong impact on The Korean film industry. It is undeniable that hollywood's industrial production mode of creation is extremely efficient, And China's commercial blockbusters in the past two years, such as "The Great Wall" and "Wolf Warrior 2", have invited Hollywood composers to cooperate, and the brilliant battle theme has distinct characteristics and is easy to identify. Taking "Animal World" as an example, the film has attracted attention with its international heavy industry style and bloody mysterious plot, and has been simultaneously screened in more than 20 countries around the world, and the film was also selected as the opening film of the 21st Shanghai International Film Festival. From the special effects editing of the film, the use of well-known foreign actors to the Hollywood composer responsible for the soundtrack, etc., it can be seen that the director's reference and recognition of the Western film industry.
The influence of Hollywood's film industry is there for all to see, as a powerful symbol of consumption in the United States, it spreads its ideology and cultural characteristics to the world. In terms of film music, more and more musicians deliberately imitate this set of stylized writing ideas in order to be safe. The French composer Debussy once said of the influence of Germany on French music: "Some people like to take the ready-made road, the road without risk. For these people, the imitation or influence stage is essential. These composers do this only because it is a "risk-free road." [9]
The immaturity of China's film industry development system is reflected in many aspects, such as the lack of industry standards and industrialization norms, the limited investment of music funds and manpower, and so on. Taking the division of labor model in Hollywood film and television soundtracks as an example, it can be subdivided into music editors, orchestrators, conductors, music producers, sound recordists, mixers, etc. Compared with their whole industry chain production process, China's film scores are usually a person and several jobs, everyone's energy is limited, and it is inevitable that the requirements for composers are a little too high to want to cover all aspects. Secondly, Chinese films are still too dependent on the personal popularity of directors and actors, and other types of work in the film industry have not received enough attention, which can be seen from the allocation of funds. In foreign countries, music soundtracks are often released in sync with movie releases or even released in advance to promote movies and increase the selling rate. In China, most movies show no signs of releasing soundtracks even if the film has been a long time ago. Today, there are still many directors or producers who think that there is no need to release film music soundtracks separately, but they do not know that film soundtracks have long been used as products of the post-film era and can create new value.
(3) Provide more possibilities for the development of Chinese film music
As a developing country, due to the special historical process and social system, China's film industry is still in the exploratory stage, which undoubtedly means that Chinese films are at a disadvantage in the global expansion represented by American Hollywood films. Obviously, we should learn from Western film music and find a film industrialization structure that adapts to China's national conditions and has Chinese characteristics.
Take the American cartoon "Kung Fu Panda" as an example, this is an action comedy film with the theme of Chinese kung fu, it uses the Chinese national treasure giant panda as the protagonist, in addition to Western modern music elements, the composer also added erhu, bamboo flute, pipa and Chinese opera in the hanging cymbals, small gongs, castillons and so on. For example, "Panda Po" and "Sacred Pool of Tears" are based on the traditional Chinese five-tone style, and also incorporate the structural form of fish biting tail. These elements of oriental music seem important but are actually dispensable. This is like the characteristic presented by Sayyid in his book "Orientalism" - this is only the East under the perception of the West, and will never involve the "original appearance of the East", pandas, kung fu, this is only the stereotype of the West on the East under the intercultural thinking.
Before the 1920s, Lovental, a member of the Frankfurt School, began to study art from the perspective of media communication, proposing two original categories, "communication force field" and "understanding force field", and giving them unique connotations. [10] Under the so-called "gaze" mechanism, Chinese has always been in the position of "being looked at", and if they blindly borrow foreign musical elements and lose their own cultural core, they will inevitably be unable to survive in a pluralistic cultural world, which is also the contradiction between the development of local cultural dissemination and global cultural acceptance.
First of all, the creation should be rooted in local culture, highlighting the personality of Chinese music culture, and not blindly imitating. The United States is a typical immigrant country, and due to its own historical limitations, it has to get musical inspiration from the subject matter of other countries. The Chinese civilization has lasted for five thousand years, and this is our important spiritual civilization and wealth, which must be inherited and carried forward. Mr. Zhao Jiping held that the national style cannot be expressed with one or two musical instruments, but the most fundamental thing is to use the materials of the nation to show the psychological quality and spiritual outlook of the nation.
Secondly, the nationality of film and music is connected, and only by maintaining the recognition and self-confidence of the essence of the national culture can we maintain the distinctive national characteristics of the film. Properly handling the relationship between nationality and internationality, tradition and modernity, and giving full play to the characteristics of pluralism are the magic weapons for Chinese films to walk the international. Tan Dun is prominent in this regard, and the cello in his soundtrack "Crouching Tiger, Hidden Dragon" draws on the playing techniques of the erhu, and the natural minor key is mixed with the tone of the Chinese five voices; the Chinese national instruments bau, rewap, pipa, and tambourine are quite recognizable with Ang Lee's movement and tone. Tan Dun showed the World Chinese charm with his restrained oriental aesthetic melody, and the film also won many awards such as the 73rd Academy Awards in 2001 for Best Foreign Language Film and Best Original Soundtrack, which was widely praised.
Third, the combination of East and West is an objective requirement for the development of music, and although China has no shortage of excellent soundtrack masters who have been influenced by Chinese and foreign music culture, such as Tan Dun, Wang Liguang, Ye Xiaogang, etc., they still cannot meet the needs of the rapid development of the film industry. To this end, on the one hand, we should pay attention to talent training, especially composers who can accurately grasp the differences between Chinese and Western musical elements and achieve a perfect integration of the two; on the other hand, we should also pay attention to the cultural self-confidence and cultural consciousness of a new generation of filmmakers, and the sooner this local consciousness and sense of responsibility is established, the better. Finally, the rich investment in film music and the relaxed environment for film music creation are all driving forces for the development of film music.
epilogue
To achieve maximum freedom, you must find your own way of thinking. Cultural globalization is an unstoppable trend, and the Canadian League of overseas composers embodies the characteristics of Chinese film music, which is inclusive and inclusive, and we should understand the musical aesthetics of different regions and different eras, and respect and encourage the diversification of musical styles. Only by comprehensively absorbing and drawing on the excellent cultural achievements of all ethnic groups in the world, and completely breaking the barriers between The East and the West, tradition and modernity, race and region, can we create excellent film music. The road to the development of film music is a long way to go. Only by knowing oneself and knowing the other can we never lose a battle; only by not distinguishing between each other can we create tomorrow together.
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Fund projects
This paper is the result of the 2019 Beijing University High-tech Discipline Construction Project "Research on the Development of Chinese Film Music in the New Era (1978-2018)" (No. 000136876).
Editor: Cao Honggang
Editor: Zeng Zhen
Source: Film Review, No. 8, 2021
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