Author: Sheng Yilan
Originality is not easy, plagiarism must be investigated
The famous director Ang Lee once said: "A good movie can change the way a person sees the world." "And the movie we're going to talk about today, 'Looking for Naadam,' is a must-see children's movie for every child.
"Looking for Naadam" is like a child's life apocalypse, with the director's accurate style control of children's films, on the basis of the viewer's original cognition of children's films, with the help of the unique thinking angle of ethnic minorities, "Looking for Naadam" is presented to the viewer with a new perspective, providing rich reference materials and research value for China's children's films.
Children, as a unique audience group, have always been favored by filmmakers, and in the creation of modern and contemporary chinese films, films created around children's groups have also mushroomed and have become the objects of expression of many art forms, and film art is no exception. Among them, "Looking for Naadam" is a typical representative of Chinese children's films.
"Looking for Naadam" and the drama model of Chinese children's literature are much the same, both focus on children's groups and focus on and attention to children's enlightenment education, which is an important communication channel for children's culture in China and an important spiritual food for children's education.
Therefore, in "In Search of Naadam", the viewer sees not only the excellent structure of the play and the director's unique audiovisual decoration plan, but also an innovation in the theme, that is, the film has artistic laws and film aesthetics at the same time, but also shows the potential didactic characteristics of the play to the fullest.
The side-knock side attack transmits the educational perspective of life to children, so that children can reflect on themselves and reflect on their own life conditions and attitudes in the process of watching movies.
In addition, "In Search of Naadam" also cleverly integrates children's films with ethnic minorities. This is also one of the main characteristics of children's films in China. Because China is a melting pot of cultural pluralism and ethnic integration, diverse national cultures are woven together like silk threads into the great grand plan of Chinese culture. Therefore, the film has become a microcosm of the living space and spiritual space of ethnic minorities in China.
In "Looking for Naadam", the director skillfully combines children's culture with minority culture. The perfect structure of the two audience groups that our country is most concerned about, children and ethnic minorities, is perfectly structured in the same play structure.
Through the director's unique insight into the text, the film has become a unique art of ethnic minority children's films. It has become a unique film category in the milestones of China's films, and has also become the door for China's minority culture to transmit to the world, so that China's ethnic minority culture can bloom brilliantly in the big garden of world cinema
Therefore, after repeatedly watching "In Search of Naadam", it is not difficult for us to find that while analyzing the artistic style of Chinese children's films, the analysis of Chinese ethnic minority children's films is a part that should not be underestimated. Under the background of the rapid development of modern visual technology, in the face of the fierce competition pressure of the children's film market, China can perfectly combine ethnic minority characteristics with children's films, and cleverly walk out of the "Chinese localization" film style.
The birth of "In Search of Naadam" has occupied a favorable position for China's children's films in the world film market. It also enables viewers to gain a deeper understanding of the lifestyle and spiritual attitudes of China's ethnic minorities. Therefore, I will analyze the following points from the following shallow points, and perceive the charm of children's films with the viewer in a horizontal diffusion style, and at the same time perceive the charm of film art under the integration of ethnic minority culture and mass culture.
<h1 class="pgc-h-arrow-right" > Innovative children's film character modeling - naughty naughty child image, changing the viewer's stereotype of children's innocence, while witnessing the growth of children, the film rises to the artistic level</h1>
In "Looking for Naadam", the shaping of the child's image has been broken through and improved, and the most significant feature is that it appears in front of the viewer with the image of a naughty and stubborn child. This is also a major breakthrough for the director in the field of character modeling in children's films. The director began to realize that children's films should take children as the creative body, and go deep into the inner world of children to construct and create the overall story, so that the film can be truly accepted by the unique audience group of children.
Therefore, we can clearly perceive in "Looking for Naadam" that in terms of character modeling, the viewer can no longer see the conceptualized and dogmatic character modeling in early children's films, but instead the director began to create a concept based on children, so that the film has a unique symbol of "fit the psychology of children's acceptance" and thus makes "Looking for Naadam" sought after and recognized by children.
In the film "Looking for Naadam", Zhao Xing is a typical "naughty naughty boy image". In this film, the director completely constructs the overall story outline from the perspective of Zhao Xing, so as to show the viewer small stories such as "Internet addicted boy goes to the countryside to reform", "what is the most important thing about money and goods", "Looking for Naadam together".
Although the overall story structure is similar to the movie "Where Is My Friend's House", both are based on the search as the clue of the overall story drama, but compared with "Where Is My Friend's Home", "Looking for Naadam" is more thematic transmission. If "Where Is My Friend's House" is the originator of road movies and an experimental film, then in my opinion, "In Search of Naadam" is "Where Is My Friend's House" innovation in the play. It is also a major innovation and breakthrough in Chinese children's film dramas.
From the perspective of Zhao Xing, the director examines the most concerned humanistic issue in the context of modern and contemporary society - family relations - with the eyes of children. With a journey to skillfully combine Zhao Xing's experience, beautiful and warm, cruel and realistic mixture of woven into a unique picture of life, truly with the eyes of children to show children's style, throughout the film although weakened the stereotypical didactic level, but than the previous children's films have focused on and preaching mode is more convincing and infectious.
<h1 class = "pgc-h-arrow-right" > the creative principles of modern children's film dramas make the film more authentic and convincing, and then make the unique audience of children able to receive education and enlightenment</h1>
Secondly, the play "In Search of Naadam" also has a very high standard for children's film creation. This is also the key reason why "Looking for Naadam" can be accepted by children's attention, that is, the image expression of "Looking for Naadam" is completely in line with the expectations of the children's audience.
Therefore, in order to achieve the qinser and ming of the film and the audience, the creator must take into account the drama and authenticity while taking into account the drama and authenticity of the film story, and make the film story have the logic of children's thinking and the imagination of children and their bodies.
This requires strict adherence to the creative principles of modern children's film dramas: the logic of children's thinking, the authenticity of children's personality, the interest of children's lives, and the social background or family background in which children live.
In "Looking for Naadam", the director showed the drama skills and thinking of these children's films, and the logical character modeling of his children's thinking was vividly displayed on the screen. Throughout the film, the director presents the viewer with two different living conditions and children raised in family backgrounds: Zhao Xing, who does not receive parental love in the city, and Qi qi, who faces cattle and sheep all day in Inner Mongolia.
A child is rebellious but also mature, and Zhao Xing gets his father's attention in a rebellious way. And Qiqi is innocent, her heart is as broad as the prairie, and her heart is as pure as the blue sky.
These two polarized character models are actually difficult to achieve in actual shaping, if Zhao Xing's rebellion can also be traced through the structure of dramatic paragraphs, then his naïve character modeling is the biggest challenge to the director's skills.
How to present the logic of his personality thinking, the authenticity of his personality, the interest of life and the life background in all aspects in just two hours is actually a challenge that should not be underestimated.
But in my opinion, the director is perfectly presented to the viewer with his own personality, and applies the principles of drama that must be possessed in children's films. The director cleverly uses the lines to shape his own character image, the most able to show the characteristics of the fairy tale.
For example, when Qiqi communicated with Zhao Xing, he blurted out: "How boring is this place", so that Zhao Xing, who had just arrived, deepened his fear of the savannah after hearing this line.
In addition, the director also places the characters in the savannah, invisibly informs the viewer of the living environment and family background in which he is located, and it is also "Looking for Naadam" that invisibly has a certain authenticity, so that the viewer receives a certain family inspiration in the process of watching the film.
<h1 class = "pgc-h-arrow-right" > director takes "children's perspective" as the main characteristic of the play, making the film more childlike, and then making the film full of unique interest</h1>
In addition, "Looking for Naadam" also takes "children's viewpoint" as the main feature of the play, making the film more childlike. In the film, the director's playwriting abandons the traditional "God perspective" narrative structure mode, but examines the whole story from the perspective of a child.
In my opinion, this is also a very test of the creator's play skills, how to make the film naturally exude childlike fun, full of unlimited childishness is actually very difficult, which requires the creator to stand in the perspective of children to examine the problem and also use the children's personality characteristics to produce the necessary contradictions and conflicts in the play.
For example, in the film, when the brother Zhao Xing had no money but wanted to buy food, the brother mortgaged the handheld game console that was regarded as a treasure to the shop owner's wife, but Qige could not bear his brother's sadness and took his favorite shoes to exchange for his brother's game console.
This is the most natural child's perspective to tell the story, two people exchange their most precious items for another item they think is precious. Through a simple drama paragraph, the simplicity of children is vividly displayed.
In "In Search of Naadam", the director also cleverly integrated ethnic minorities into the entire film, making the film a very ethnic localized video style. Viewers can also invisibly gain a deeper understanding and understanding of China's ethnic minorities while watching movies, which is also the innovation of the development of Chinese children's films.
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