The news of the death of South Korean director Kim Ki-duk has caused a lot of shock inside and outside the film circle, and the literary and artistic youth of this century have been more or less affected or enlightened by his films in their initial stages. A media friend also recalled the obituary he had written over the years, and the most impressive ones were: Michelangelo Antonioni, Ingmar Bergman, Yang Dechang, and Run Run Shaw, which is equivalent to waving goodbye to one film era after another. Recalling the kind of news I did, it also included Sang Arc, Xie Jin, Jin Min and others. The stars fall, just as they do when they shine, and let people look up at the traces left by the sky and wander low.
After Kim Ki-duk left, some people wrote in the circle of friends: Spring, summer, autumn, winter and spring, empty rooms on the coastline, the recipient is unknown. A few words strung together by his film title are the code for the film that belongs to Kim Ki-duk and his audience. The geese have left their voices, the filmmakers have left their works, and they also use the film as a carrier to record, remember, pursue, and look forward to the load and sinking of generations, so the film also has documentary value; the film also interacts closely with the public, intervenes and affects our lives, as a collective memory penetrates into our blood, becoming a rhetorical code that you and I understand in our hearts.
Each generation has its own movie code. For example, Ma Xiaojun in "Sunny Day" shouted "I am 851, shoot at me", is the code remembered by the public after the baptism of time in the movie "Heroes and Children", with an amber-like texture, and "Hero Hymn" resounds again in this year's new film.
In the new novel "White Swimsuit" by the post-1970 writer Xu Haofeng, the writer described a grandmother as combing the neat short hair of the female guerrilla leader in the 1954 movie "Reconnaissance of crossing the river", describing that there were several mixed-race children in Beijing at that time who were vaguely the faces of Gerald Philip in the 1956 translation and production of "The Adventure of the Warrior" - for old movie fans, the character image suddenly jumped on the paper. However, young readers also have thresholds when reading, and they have to go to old movies to find prototypes, after all, this is the movie code of the previous generation.
Recently, I read the novel "Submarine at Night" by the post-1990 writer Chen Chuncheng and found that the new generation also has their movie code. The writer describes an old man's eye bags as a bit like Wang Zhiwen, a metaphor that is slightly old-fashioned, and younger readers are probably more familiar with Ma Dong, who has cut his eye bags. The writer also described a large bird flying in from the window, "like a dark nightmare, almost just flew from Hitchcock's film", fans who have seen "Flock of Birds" can appreciate the horror atmosphere, this metaphor also shows the old-school style, but also shows that the writer has an old soul.
"Even if you lose it, there is something to pass on." It is Kore-eda who says it in the "Sea Street Diary". Filmmakers are gone, but their relics are scattered across the world.
Source: Morning News Author: Chang Fengxin