The innovations of popular films in the seventies and beyond, such as Jaws, Star Wars, The Exorcist, bruce Lee films, and Indian blockbusters Such as Vengeance Of Fire, are all world-famous entertainment films, but they are still extremely creative. Of the films of the seventies and beyond, the best is the mainstream film that plays with new ideas
Hong Kong:
Hong Kong is a haven, transit station and source of funding for filmmakers fleeing war. Low-budget small-budget films are the mainstream here, so the films produced here are also called "migratory bird movies".
The first golden age of Hong Kong cinema was the 1950s. The emperor of the film industry, Run Run Shaw, came to Hong Kong in 1957 to build the world's largest private film studio. Fifties Films: Li Hanxiang's "Beauty of Jiangshan" (1959) is feminine, filmed in the studio, with strong colors and soundtrack, beautiful trees and costumes. Hu Jinquan directed "Heroine" (1971) widescreen, more impactful, faster, the camera moves fast, and every action is designed. Kung Fu films became mainstream films in Hong Kong, and Hu Jinquan's bold innovations changed the history of cinema. Ang Lee's Crouching Tiger, Hidden Dragon pays homage to him.
In the late sixties, Hu Jinquan made Hong Kong films more masculine, but Bruce Lee appeared in the seventies. Bruce Lee's martial arts scenes have more offense, sweat and anger, and this anger comes from the storyline, but also from his life, he has suffered from racial discrimination and wants to be equal. Guan Jinpeng sees the transformation of film to masculinity as part of the general trend of film, economic transformation, women have the ability to consume, and audiences are younger. In Bruce Lee films, all the camera does is carefully record every action, putting itself out of the fight, and Hong Kong movies in the seventies did not have too much editing, fixed camera positions, and wide angles were the most common.
Wu Yusen's "The True Colors of Heroes" (1986) changed the film's approach, and Wu Yusen, who was deeply influenced by Akira Kurosawa and Sam Payimbaw, used multiple cameras to shoot gun scenes, some of which were mobile photography, using slow motion, and the scenes were broken down into fragments. Jianghu hero films became the new film genre.
Yuan Heping's "Young Huang Feihong's Iron Horse Horse" (1993) quickly cuts the camera angle is changeable, the fight in front of the camera is cleverly designed, borrowing elements from Hu Jinquan and Peking Opera, and the characters fly into the air. He later also served as a martial arts instructor for The Matrix. He said that in comparison, Hong Kong films are a little more free and creative. Tsui Ke has been called "The Spielberg of Hong Kong", "Wong Fei Hung" (1991), "New Dragon Gate Inn", etc., leading mainstream films.
India:
"Bollywood" Indian mainstream films are equally innovative. K. Asif, "The Mughal the Great" (1960), "Seasons" Gurza, etc.
Amitba Baguin: Ramesh Seppe (1975) The Flame of Vengeance creative blockbuster, widescreen titles like epics, scenery like Westerns, soundtracks like adventures. It was one of the greatest Bollywood films of its time, one of the most influential. Javid Aktar was one of the film's screenwriters, the great Urdu poet and screenwriter, who sought to reflect in the script the spirit of that era, the spirit of the post-independence Indian nation.
Flames of Vengeance (1975) ramesh Seppe. The scene where the policeman's relative is shot is the core of the whole film, and the freeze frame, slow motion, and non-stop rotation promote the development of the film's plot and also drive the audience's emotional changes. Its anti-tradition lies in daring to change the tone of the film, blending chaplin and Leone, Cliff Richard's music and horror films.
Arab:
The Messenger (1977) Mustafa Aked, the character speaks to the camera (the audience), treating the audience as another person in the dialogue. The soundtrack is blank, available in Arabic and English.
Egyptian avant-garde director Yusuf Shain, in the seventies, was both popular and angry, and "Sparrow" is an excellent interpretation of a tragic period in Arab history.
United States:
Since the 1970s, Hong Kong, Indian, and Arabic films have been widely acclaimed, and American films have also taken on a new look. The Exorcist, Jaws, and Star Wars changed American cinema and changed world cinema. The producers began to make a fuss about visualizing people's imaginations, demons, sharks, spaceships, dinosaurs, Titanic, thrills and thrills to bring the audience back into the theater, which was called "want to see movies" in Hollywood, and it was in this cultural atmosphere that new multi-hall cinemas were built one after another, and the era of sensational blockbusters began.
The Exorcist (1973) william Friedkin. Added real elements to horror films. Highly creative sound performances, non-nonsense techniques learned from Howard Hawkes, documentaries about film, based on the audience's reaction to the film, produce rough, handheld photography, capture people's fears. He described himself as "on the pulse of America."
Steven Spielberg: "Good Joe" had more impact on him. Jaws is an innovative film that recreates the realism that Spielberg vividly tells about his vision of Jaws shots and their integrity, he captures the feel of every visual idea, and then starts shooting and adds visual effects through color and lens. He used the camera to push forward while the camera zoomed backwards to cause a change in perspective, as Hitchcock did in Ecstasy.
Spielberg's iconic scenes, awe and revelation scenes, wide-angle shots, and camera advances are shown in Contact of the Third Category, as does Jurassic Park. Spielberg's films are mostly set in the countryside, the undeserved father, and the little people are exposed to wonderful things, Spielberg has greatly promoted the mainstream film, becoming the most successful romantic film director in "Film History"
Star Wars: A New Hope (1977) george lucas, computer-controlled camera movements, modeled, borrowed from many films. The two robots are borrowed from the comical duo in Akira Kurosawa's Sengoku Heroes, the processing of the edges of the film, the transformation of spears into lightsabers; the shooting method of the negative characters is reminiscent of "Victory of the Will". Expressing feelings rather than rational thinking conveys the voice of that era.