The chief instructors of Class 78 of the directing department are Wang Suihan and Situ Zhaodun. In the first class, Teacher Wang Suihan said earnestly: "After ten years of movement, we were forced to stop teaching, and now from your class, everything has started again. We don't know how to teach after such a long pause, but we will do our best, and I hope that all of you will do it. There is a heartfelt saying I want to say to you: As a director, you have a lot of responsibility on your shoulders. With an investment of several hundred thousand yuan in a film, it can equip a medium-sized hospital, and the country is now so poor, which is really a lot of money! If you make a movie once, whether you succeed or fail is a matter of great importance! I hope you will keep it in mind. ”

Teacher Situ Zhaodun also said sincerely: "All 28 of you must be determined to innovate. Don't repeat the same as before. If there are 28 little Situ after graduation in the future, it will be too unproductive. I'm sure it won't be that way. ”

Xu Wangqiu said loudly: "Teacher Situ, don't worry. You will be proud of us in the future. In the future, you will definitely be written into the history of cinema because you taught us a group of wonderful students. ”

Hearing this, Situ Zhaodun smiled: "Ambitious, I am very much looking forward to this day!"

The three main courses of the directing department are the art of film directing (including acting), the theory of film montage and film drama, which are set up with reference to the Soviet textbooks. The six directing students who graduated before the movement were all taught according to this model. Now for the 78 class of the directing department, the school has resumed this method. However, since the world film landscape has already changed, many new theories have emerged, and teachers are also thinking about how to introduce new film theories such as neorealism and new wave into teaching.

The acting class is the key course of the freshman year, and the directing department has formed a teaching and research group composed of five acting teachers, including Chen Wenjing, Situ Zhaodun, and Xu Tongjun, to carry out systematic performance teaching. Cao Yu's "Thunderstorm", "Sunrise", "Pekingese", Lao She's "Camel Xiangzi" and "Teahouse", Tian Han's "The Death of Famous People" and so on are all systematic teaching plays. There are also foreign plays, such as the plays of Ibsen, Shakespeare, and Chekhov, which are also used as models for training.

The theory of film montage is the main course of the directing department, which is taught by Xu Guming, a teacher who is fluent in Russian and has worked as a translator for Soviet experts. She is a woman who is very anxious and speaks very quickly. She carries a large basket with handouts, reference books, pictures, and a large tea bag in class. She placed the contents of the basket on the podium and lectured at a cannon pace.

Teacher Xu turned out to be a translator who had to rush to finish in Russian or Chinese between questions and answers from Chinese and Soviet experts, so she spoke like a machine gun, fast and short. Now that she's an expert in film montage, teaching her students, she can't get into the same habit. When she lectured, the words in her mouth were like the flooding water of the Yangtze River, constantly gushing out of her mouth. The students couldn't keep up with her quick thinking, let alone how to take notes, and they were all stunned and didn't know what to do.

After class, most of the students were staring at each other and didn't know what to do. Liu Lin and the others have a way, pull Xu Wangqiu and ask him to make up lessons for everyone. Only then did the other students remember that Teacher Situ had said that if there was anything they didn't understand, they could communicate with Xu Wangqiu, and they also asked Xu Wangqiu to make up the class. Xu Wangqiu is a member of the study committee, and he can't shirk it, so he can only announce that he will make up for everyone in the classroom after lunch.

After lunch, when Xu Wangqiu and Liu Lin staggered to the classroom, they found that there were seven or eight students sitting inside, all of whom were children of ordinary people, as well as Li Shaohong and Hu Mei, the second generation who had not learned film knowledge. Tian Zhuangzhuang, Chen Kaige and other children of the family grew up in the film factory since they were children, and they watched a lot of internal reference films and movie books, so they didn't need Xu Wangqiu to give them make-up lessons at all.

Xu Wangqiu smiled at everyone present and said, "Why are there so many people? I will be very nervous to make up lessons for so many people, but if you call Teacher Xu, I may not be nervous." ”

Everyone let out a burst of chuckles, got up and bowed to Xu Wangqiu, "Hello Teacher Xu!"

Xu Wangqiu touched his chin, pressed down with both hands, and said proudly: "Classmates, everyone sit down!" Then he began to speak: "If you want to talk about montage, you must start with the birth of film, the film was born in 1895, and the film at that time was composed of a completely uncut shot, such as the movie "The Train Enters the Station", which was shot at the train entering the station until the film was finished. This kind of film raised the question of why it was worth spending money to see images that could be seen in everyday life, so it was considered a promising and meaningless invention at the time. It wasn't until the advent of editing that the film had the ability to tell a story that the film gained a real development ......"

Xu Wangqiu starts from the origin of film, how Edwin Porter created the editing, how he used the lens editing to tell the story, how Griffith established a complete system for the art of film, and why he was regarded as the father of modern cinema.

After a long introduction, Xu Wangqiu finally got to the point: "Griffith has established a complete system for film art, but he is engaged in creation, and he is not capable of turning this system into a real theory. It was the Soviets who completed this task, and Eisenstein and others in the Soviet Union finally established a classical theoretical system of film art through the analysis of Griffith's films, and this theoretical system is montage.

The representative of the montage theory is Eisenstein, and his masterpiece is "Battleship Potemkin", the birth of this film marks the maturity of film art and the perfection of montage theory, of which a section of the Odessa Staircase is an insurmountable classic in film history. This movie, the school will definitely show it, and you should watch it well when the time comes. When pulling the film, you can pull a section of the Odessa Ladder a few times, and if you can understand this section of the Odessa Ladder thoroughly, it is enough to become a good director. ”

When Liu Lin and the others saw Xu Wangqiu say this, they all silently remembered "Battleship Potemkin" and the Odessa Ladder in their hearts.

Xu Wangqiu continued: "Kulishov, another important theorist of montage, made two particularly important discoveries, one is the Kulishov effect and the other is creative geography. Let's start with the Kulishov effect, when Kulishov made a very famous experiment in camera editing in order to understand the juxtaposition of montage, he took an expressionless close-up of the famous Russian actor Mozyushin, and then put it in front of a pot of soup, a child playing game, and the corpse of an old woman, and then showed it to the audience. Unexpectedly, when the actor and the soup group are connected, the audience thinks that the actor's expression is hungry, when he is with the child, the actor's expression is joy, and when he is connected to the old woman's corpse, the actor's expression is sad.

The faces in the close-up shots are identical, but when combined with different shots, the viewer has different associations, and Kulishov came to the conclusion that a new meaning can be acquired by purposefully juxtaposing different shots. As a simple example, I'm going to shoot a knife sharpening shot, and I'm going to shoot a pig snorting quietly, and what do you think of when the two shots are connected?"

Wu Ziniu reacted quickly and said directly: "You are going to kill the pig!"

"Yes, it's to kill pigs. Xu Wangqiu nodded with a smile and continued, "Through the combination of different shots, we can even have completely different feelings about the characters' personalities. For example, if I take a shot of a little girl begging, and then take a shot of Liu Lin's expressionless face, what do you think of Liu Lin's character?"

Everyone thought about it and said in unison: "There is compassion." ”

Xu Wangqiu smiled and nodded: "It's just compassion." If we change the combination, it may be completely different, for example, if we shoot a shot of a girl bathing by the river, and immediately follow a shot of Liu Lin's expressionless face, what is Liu Lin's character?"

Liu Lin shouted: "Wangqiu, don't pick me up with the girl taking a bath, I look like a hooligan." ”

Xu Wangqiu chuckled and said, "Liu Lin has already said it, he is a hooligan." When they heard this, they burst into laughter. Xu Wangqiu continued: "The reason why film is called the art of the director is because the director can bring the audience into the world of film through montage, through camera movement, through light, through color, and through various means. For commercial films, it is even more important to find ways to make the audience immersed in the world you have constructed. So, cinema is the art of directing. ”

At this moment, Xu Wangqiu suddenly stopped, turned his head to look out the window, and listened to the content on the radio.

At 12:30 noon every day, the Central People's Radio will broadcast "Long Continuous Broadcast". For young people in this era, in addition to visiting bookstores, another pleasure is listening to novels. The plot of the novel broadcast on the radio is often very exciting, the announcer is fully engaged when he broadcasts, and even the end is particularly skillful, just like the burden in cross talk, when it comes to the critical time, a sentence, "I want to know what the future will be, and I will talk about it tomorrow", which makes people still unfinished and looking forward to tomorrow.

Xu Wangqiu was very happy to hear that the content of the broadcast was "Mom Loves Me Again", and there should be a manuscript fee for the script to be changed to a radio script, and CCTV should pay for it. However, the other party didn't know that he was going to school in Beiping, and the remittance slip must have been sent home. Xu Wangqiu decided to write a letter to his brother and asked him to help him get the remittance slip.

The students in the classroom have all watched "Mom Loves Me Again" and are all deeply moved by the story. At this time, when I heard that "Mom Loves Me Again" was broadcast on the radio, they all whispered: "Oh, "Long-form Broadcast" actually broadcast "Mom Loves Me Again"!", "I like this story very much, it is very touching." "Yes, I also wrote to the author, but unfortunately he did not reply. "I also wrote it to He Huo. ”……

Liu Lin heard that Li Shaohong had written a letter to the author of "Mom Loves Me Again", and couldn't help laughing: "Classmate Li Shaohong, you wrote a letter to the author of "Mom Loves Me Again", and he didn't reply to you, right? I have a way to ask him to reply to you. Just give the letter to Wangqiu!"

Li Shaohong glanced at Liu Lin: "What did I do with the letter to Wangqiu? He doesn't know Hehuo!"

Liu Lin smiled proudly: "He Huo, Qiu Ye! He Huo is Wangqiu, He Huo is his pen name! "Mom Loves Me Again" was written by Wang Qiu!"

These words were like a depth charge, and it exploded in everyone's hearts with a bang, and the nerves of everyone rang loudly. What, Xu Wangqiu is the author of "Mom Loves Me Again"? In an instant, Xu Wangqiu became the focus of attention of the audience. Everyone's eyes were on him like a spotlight.