Author | Castle Peak Academy 1963 (Hole Net Shop: Castle Peak College)
Source | Confucius old book network App dynamics
Many years ago, reading Yu Qiuyu's works, in addition to feeling too sensational, I also felt that something was wrong, but as an ordinary reader, my ability was limited, and I couldn't understand what was wrong, until one day I read Zhu Dake's article, I was like a snow water topping, and suddenly woke up.
Zhu Dake pointed out sharply: Yu Qiuyu is a so-called scholar-writer who "wanders the literary world with cultural lipstick." The "post-cultural era" is characterized by the fact that the elite no longer leads the masses, but the masses dominate the "elite". The consequence of this structural inversion is the total annihilation of the elite,...... Only a few continue to float on the surface. They are the pioneers of the market, sharply understanding the transfer of popular interests and the market trend of culture, and use this to "anti-manipulation" the public. In short, "cultural white-collar workers" replaced "intellectuals." In terms of "flattering" the public and creating a "box office record", the latter is the real master.
Historical prose is the most vulnerable part of Yu Qiuyu, and the author's talent and speaking skills are difficult to support this grand discursive framework, ... Yu Qiuyu's entry into the realm of historical and political discourse was a mistake. He traveled in a field he could not control at all. And fell into a large maze. - "Sweet Journey"
In the 1980s, Xie Jin's films were very popular, and I watched a lot of them, often at that time, I was in tears, immersed in the atmosphere created by the movies. However, after careful consideration, I felt that compared with some literary works of the same period that deeply reflected on the Cultural Revolution, there were obviously many deficiencies. But exactly where the problem is, I still can't say.
In this regard, Zhu Dake pointed out in 1986: "The essence of Xie Jin's 'political film' is to over-cater to the aesthetic opportunism of the political power at that time. His films, whether it is the acura heroine Chun Miao, or the traditional female virtue of acura enduring humiliation and burden ("Legend of Tianyun Mountain" and "Garland Under the Mountain"), this strategy of swinging violently with the political situation is the highest secret of Xie Jin's success. Xie Jin's wall-to-wall film series is exactly the spiritual portrayal of the instrumental intellectuals at that time.
Naturally, if the Xie Jin model is only examined from the perspective of the film itself, then it will fully meet the following indicators of the so-called "conventional film": it can make money and satisfy the audience's various moral shortages and desires for life, and it will be "elegant and popular", and all will be happy. However, when we break through the horizon of the film and examine it in a larger space from a cultural point of view, we find that it is now a serious disharmony in the process of Chinese cultural change, and a vigorous step backward from the spirit of "May Fourth", so that the codebreaking, revaluation and abandonment of the Xie Jin model have become a kind of urgent historical requirement. ——"On the Defects of Xie Jin's Film Model"
At the same time of criticism, Zhu Dake believes that Xie Jin has outstanding talent in film.
When Zhu Dake wrote this article, he was not yet 30 years old, and it was really impressive that a young scholar had such profound and sharp insights.
In the 1990s, February River's Qing Dynasty imperial novels were once a hit and were made into TV series, and I was also a fog, and I didn't understand why the works of feudal emperors were so popular. Isn't "speaking only for the living, not singing praises for the king", not the standard of the writer? At that time, February River's works had a scene of "where there is well water, there will be willow words".
Zhu Dake severely criticized this phenomenon: "From Yu Qiuyu onwards, the "imperial discourse" began to become popular in China. It is a fictional text packaged by so-called "culture", far from historical truth, but fully in line with the moral imagination schema of nationalism. Since then, the writer February River, who lives in Henan in the Central Plains, has launched his series of novels "The Kangxi Emperor", "Yongzheng Emperor" and "Qianlong Emperor" trilogy, pushing the imperial comedy of the 1990s to an exciting climax. Compared with the stuttering Yu Qiuyu, February River is more adept at using historical narratives to create the illusion of the Great Qing. In those lengthy novels, the novelists portrayed the emperors of the Three Dynasties as the supreme heroes who saved and prospered the nation, that is, authoritarian nationalism created the "Kangxi Prosperous Era", and the northern barbarians actually became the rare saviors of the Han people. In this rewriting of history, nationalism and authoritarian statism engaged in a lipstick labor race. The Revival and Flooding of Imperial Discourse (originally titled "The Imperial Novel of the February River")
The standard of Zhang Yimou's film works has seriously declined from the beginning of Qianyuan, but it is not a real commercial film, but an attempt at art, and both sides of the business are eaten, and the result is a great disappointment. After watching "Hero", I didn't watch Zhang Yimou's movie again.
Zhu Dake commented on this: "The fall of Zhang Yimou is ultimately a problem of the film system. A film system with a lot of problems has turned the good-looking Zhang Yimou into a cultural monster. This talented director has finally lived up to the high expectations we had had for him 25 years ago. Literary critic Zhu Dake told Southern Weekend reporters. - "Why scold Zhang Yimou? ——History of Zhang Yimou's Criticism (Southern Weekend, 2010-01-13)
At the same time, For Zhang Yimou's early outstanding works "Red Sorghum" and "Alive", Zhu Dake has always been praised.
Many such wonderful articles are deafening. After 2000, on the Internet, I began to find and read Mr. Zhu Dake's series of articles, such as drinking a sweet spring, out of control.
Mr. Zhu's influence on us is not only in the profound aspect of thought, but also in a very important point is his style, his unique way of speaking, also known as "Zhu language". For example, the spiritual turmoil of the twentieth century puts us in danger of losing our spirit of prophecy. The Chinese spirit of play and postmodernism, from the perspective of refusing to care for the future, deepened the consequences of this incident. The prophets have long since vanished to dust, with only their last names, stranded in the distant spectacle of history, as if they were something completely unrelated to us. This is the sharp manifestation of the nature of the night of the world: the future is immersed in great darkness, and it has lost the care and attention of the glory of prophecy. What is even more astonishing is that few people have made uneasy inquiries about this. - "The Prophet's Gate"