Cultural multilateral dialogue

Author: Tang Mingsheng (Compiler)
Publisher:
Publish Date: 1998-12-01
Features: The articles collected in this book are "dialogues" by experts on several hot topics in the literary and artistic circles in recent years. I was delighted to get an early look at them. The "dialogues" organized and published by the Television·Film·Literature magazine have been very popular among readers because the issues they address are both hot topics of concern and involve well-known experts. Reading these articles doesn’t require the same amount of time as reading some lengthy treatises, which is indeed a rare pleasure. These cultural "dialogues" have also been very helpful to me, providing me with a wealth of knowledge and information. As a latecomer to reading, allow me to share my own thoughts as well. I have been a moviegoer for nearly seventy years. In the 1930s, I loved films like Fish Light and The Road Song. After the victory of the Anti-Japanese War, I still vividly remember films such as A Long and Winding Road, A River Flows Eastward, and Bright Lights. In the 1950s, I enjoyed films starring Zhao Dan and Shi Hui. I sought out realistic, progressive, patriotic, and anti-war films that also possessed strong artistic appeal, critical spirit, and human warmth. Over the years, I’ve come to feel a special connection to films of that era. On the other hand, I found films that served only as propaganda, were formulaic and conceptualized, to be both lacking in substance and dull, holding little interest for me. I’ve also watched some of Red Lanterns and Yellow Earth, though they left me with a sense of novelty rather than strong impact, and I couldn’t care less about debates over whether they represented the first or second generation. I believe director Xie Jin showed great courage in exposing the ugliness of the "Anti-Rightist Campaign" during that time, yet he faced criticism for being too unrealistic. Those who opposed him claimed to have transcended the era, but in reality, they were disconnected from the actual circumstances here. It wasn’t until recently that some breakthroughs in discussing the "Anti-Rightist Campaign" emerged from the censorship, yet many victims had already passed away. Films criticized in past movements were, in many ways, better than those artificially elevated by others, as they were often more authentic and closer to people’s lives. Perhaps it was precisely because they were unfairly criticized that they gained even greater respect in the hearts of audiences. This stands in stark contrast to the later outright rejection of the eight "model operas," demonstrating the people’s choice. No matter how intense the pressure, it can only end in failure. Director Zhang Yimou’s films are full of innovation and boldness. His rough and untamed style is a counterblast against the long-standing tendency of people to be too docile, weak, and stale. His films are meticulously crafted, with little dialogue yet provoking deep thought. Compared to the later era of endless chatter and verbose, preachy speeches, his work represents a different realm—clearly something to be celebrated. Later, however, there were signs of films catering to foreign curiosity, with exquisite forms but lacking depth. I hope this rare talent can better harness his potential, stay connected to his roots, avoid being too rigid, and embrace a stronger sense of social responsibility.