Lin Niantong shook his head and said: "I don't agree with this statement, take Yasujiro Ozu as an example, the low camera position is his signature lens, he uses the low camera position is not without basis, in order to create a sense of picture and deliberately shoot up, but Dongying people usually sit on tatami mats, their own perspective is like this, it comes from life."

We Chinese are different from the West in terms of living habits and ways of thinking, and they must be different from other countries in film creation, which is what belongs to us and belongs to our nation. I have studied Chinese cinema from the silent film era to the present, and I have found a characteristic that our films, especially literati films, especially those of the literati, are particularly fond of using medium shots, which is the characteristic brought by the emphasis on Pingyuan in traditional Chinese painting. ”

Xu Wangqiu nodded and said: "I very much agree with this, we are Chinese, our culture, our thinking, and the West are different, and the things we shoot will definitely have their own characteristics." We should inherit the good things of our ancestors, but we should not cling to tradition and think about adding some ancestral things to the movie all day long. Art is about innovation. I think that instead of inheriting the tradition, we should think more about how to move forward and how to open up new areas. ”

Lin Niantong continued his own view: "The emergence of film originated from painting, so it was deeply influenced by the laws of painting creation. The perspective of films, the theory of composition, the aspect ratio of the frame, etc., all come from the Western painting tradition. Compared with Western painting, traditional Chinese painting has a completely different set of artistic expressions. If the creative rules of traditional Chinese painting are used in films, the problem of nationalization of films can be completely solved. ”

Xu Anhua couldn't help but say: "But Chinese painting pursues freehand, composition does not pursue perspective, and the picture space of the film is realistic, these two are contradictory, I think the creative rules of Chinese painting may be difficult to apply to film creation." ”

Lin Niantong retorted: "Not really. After the advent of the camera, Western realist painting began to decline, because the realism of oil painting could be replaced by photographic technology, but Chinese painting could not replace it. Western oil painting was influenced by the Ukiyo-e of the East, giving rise to Impressionism. Later, through the exploration of the system, constructivism, and Monterian, the perspective theory that has dominated the spatial structure of Western painting for more than 500 years was finally destroyed, and the aesthetic consciousness of Pingyuan space similar to that of Eastern art was pursued. Western cinema was also practiced after the Second World War, and the use of perspective in the works of Antonioni, Godard, and Traub to construct cinematic space has been reduced to a minimum, or even disappeared. Therefore, I think it is possible to apply the creative rules of traditional Chinese painting to film creation. ”

Tian Zhuangzhuang felt that Lin Niantong's words made sense: "Traditional Chinese painting pays attention to changing the scene step by step, and the whole painting is a scroll. The Chinese observation method is to see the painting little by little in the process of moving, and never find a viewpoint from which to see the painting all. "Riverside Scene at Qingming Festival" is drawn from the suburbs of the city to the city. I think the long-shot theory has a bit of a Chinese painting feel, especially the kind of moving long shot, when the lens moves slowly, it is especially like a Chinese painting. ”

Lin Niantong felt that Tian Zhuangzhuang really had a common language with himself, and said excitedly: "You are particularly right, Chinese painting is deeply influenced by Taoist thought, Taoism pursues freedom and pays attention to leisurely travel. One of the most important aspects of Taoism in painting is the concept of 'swimming', which is the embodiment of narrative painting. When looking at landscape paintings, we should not only look at it as a very direct scene, but as a narrative painting, go deep into the details of the painting, look at the past little by little, and gradually feel like you are swimming in it. I've been writing a book recently called "Mirror Travel", and what is a mirror tour? Simply put, the camera is moving. In the case of "Spring in a Small Town", the spatial structure of one interval develops into another spatial structure of interval, as if it is a long scroll composed of a set of viewpoints that move continuously from side to side......"

Lin Nian's discussion with them quickly attracted film critics such as Lev and Li Zhuotao, and they all participated in the discussion. After all, exploring the road of film nationalization and establishing a Chinese film aesthetic system is what filmmakers on both sides of the Taiwan Strait and three places are doing now.

It's just that everyone has their own opinion on this issue, and everyone has their own idea. However, the whole discussion was very harmonious, everyone was talking about their own opinions, and everyone was listening carefully to the ideas of others.

Xu Wangqiu didn't speak much, and quietly listened to the crowd explain their views.

Xu Wangqiu once watched a program in which Yohji Yamamoto, the fashion master of Dongying, went to China to do a show, and the host asked Yohji Yamamoto: "When you made your first appearance at Paris Fashion Week, did you consider putting the essence of Dongying's traditional culture into the design?" Yohji Yamamoto's answer was unexpected by many: "When I went to the exhibition, I excluded everything that was Dongei-style. If you want to do a fashion show with a kimono, you will feel like you have made a souvenir, and you will be very embarrassed. ”

Yohji Yamamoto's design excludes everything that is Toei-esque, but does anyone think that Yohji Yamamoto's design is Western? No. From fame to becoming a master, Yohji Yamamoto never wanted to dig deep into the "essence of national culture", from beginning to end, he insisted on himself, but everyone thought that his design was very Dongying, because his ideas were Dongying.

On the contrary, many Chinese designers like to fiddle with Chinese elements, embroidering dragons, cranes, and flowers on fashion, but they give people the impression that they are embellished with some Chinese elements on Western clothing, and there is no classical Chinese charm at all.

That program had a great impact on Xu Wangqiu, and he realized that the core thing of the nation was not the dragon and phoenix, not ink, nor embroidery art, but thought. As long as the ideas are Chinese, no matter how many Western techniques are used, the works created must be very Chinese.

Everyone discussed for a long time, and finally someone noticed that Xu Wangqiu didn't speak, just quietly listened to everyone's discussion, and said: "Director Xu, why don't you speak? Tell me your opinion, how can we establish our own aesthetic system." ”

Xu Wangqiu saw that everyone's eyes were focused on him, and smiled: "I still say the same thing, we should look forward and develop the language of film." Let's put it this way, we have had realist films since the thirties, and our realist tradition is earlier than Italian neorealism, but because our country is backward and no one pays attention to our films, our wave of realist cinema has not had an impact on the world. After World War II, Italy took off a wave of realism and had an impact around the world. Now when it comes to realism, it is said that Italy, and that the aesthetics of Italian realism influenced the world. Let me ask you a question, if our wave of realism swept the world and had a huge impact, would the aesthetic system of realism be ours?"

Everyone thought about it and nodded: "If the whole world learns from us, it will naturally be ours." ”

Xu Wangqiu said with a smile: "So, we can't get old and think about the things of our ancestors, we should be staking in the movie world." We should explore new film languages and expand the boundaries of film. As long as we discover it first, and we come up with the film language first, then we will label it, and it will be ours. If there are more people exploring and more film languages belong to us, will it be possible to form a set of aesthetic systems that belong to us?"

Everyone at the scene looked at Xu Wangqiu dumbfounded when they heard this, but they didn't expect him to think so.

Lin Niantong was even more like being struck by lightning, and the whole person fell into a state of sluggishness. After a few seconds, he came back to his senses: "You are engaged in the People's Film Movement, just to establish a new aesthetic system?"

Xu Wangqiu waved his hand: "The original intention of our people's film movement is to fight against the domestic trend of thinking that contempts the commercial attributes of films, does not pay attention to the audience experience, and only cares about self-expression. The other is hype, if we go to Berlin and make a fuss, the whole world will pay attention to us. However, after the beginning of the People's Film Movement, we did begin to think about the aesthetics of national films. ”

Lin Niantong couldn't help but say: "Do you plan to establish a Chinese film aesthetic system with the Ten Commandments as the core?"

Xu Wangqiu hurriedly waved his hand: "Our Ten Precepts are relatively vague, only a general idea, and there is no systematic thing. However, I believe that as long as we continue to explore, it is possible to form a set of our own lens language and aesthetic system. But our set of things only belongs to our circle, and it won't work if it is placed on them. Our system is a branch of the Chinese film aesthetic system, and cannot represent the Chinese film aesthetic system. Traditional Chinese aesthetics is composed of Confucian aesthetics, Taoist aesthetics and Zen aesthetics. The same must be true of Chinese film aesthetics, which will be composed of many small branches. Only when many small branches are integrated together will a set of Chinese film aesthetic system that belongs to us be formed. ”

Everyone present looked at Xu Wangqiu in a daze, and they couldn't say anything, they were all shocked by his thoughts.

Lin Tongnian was even more completely shocked, and he realized that Xu Wangqiu's thinking was much deeper and farther than his own. More importantly, Xu Wangqiu is still with a group of people and is actively practicing. Perhaps in the near future, Wangqiu will be able to establish a unique film language and aesthetic system, which will become part of the aesthetics of Chinese film.

After a long while, Lin Niantong came to his senses, his eyes flashing with excitement: "You are right, we should not only think about inheriting the tradition, but more importantly, develop a new film language on the basis of inheriting the tradition." As long as there are more pioneers and converge together, we can form our own Chinese film aesthetic system. ”

After the banquet, Lin returned home in the same year. He took out his unfinished manuscript, grabbed a lighter, and went into the bathroom. He took out a few manuscripts and crumpled them, put them on the ground, lit them with a lighter, and threw them into the fire one by one.

The wife saw a fire in the toilet and wanted to see what was going on. She was shocked to find that Lin Niantong threw the manuscripts into the fire one by one. She knew that these manuscripts were Lin Niantong's hard work, thinking that he had drunk too much, so she hurriedly snatched the manuscripts: "What are you doing, how can these manuscripts that were finally written can be burned?"

Lin Niantong smiled and said, "These things are useless, it's better to burn them." ”

The wife didn't understand what was going on: "This is all your hard work, what a pity it burned?"

Lin Niantong pressed his hands on his wife's shoulders and smiled like a child: "It's not a pity at all, because I have found a better research object, and then I will study Xu Wangqiu's films." ”

He simply repeated Xu Wangqiu's words and said excitedly: "Xu Wangqiu is right. Only by constantly exploring the language of film, not only exploring the boundaries of film, can Chinese filmmakers establish a new set of film aesthetic system that belongs to us. Xu Wangqiu is a director, and it is their task to explore the language of film, and to analyze and sort out the results of their exploration is the task of those of us who engage in theory. I seem to have seen that day, which belongs to our Chinese film aesthetic system!"