Zhang Che was born in Lin'an in 1924, and his father was a well-known warlord of the Zhijiang lineage, so Zhang Che entered politics according to his father's wishes when he was young. Later, he was valued for participating in the Cultural Games, and became the secretary of the Modu Cultural Games, and since then he has been in contact with the film industry and stepped into the film industry. In 1948, he formed a friendship with Chiang Ching-kuo and became a commissioner of the "General Political Department" with the rank of colonel. After arriving in Taiwan, he filmed Taiwan's first movie "Alishan Fengyun", which opened the curtain of the movie behind the war.

In 1957, Zhang Che left Taiwan and went to Xiangjiang to develop under pen names such as He Guan and Shen Si to write film reviews, and put forward the view of "masculine martial arts" in the film reviews. In 1967, Zhang Che's most important martial arts masterpiece "One-armed Knife" came out, and since then, Zhang Che's concept of "masculine martial arts" has really changed from paper to pictures, and has had a far-reaching impact. He has also gradually become one of the representative figures of Shaw Brothers films, and is known as one of the four major directors of Shaw Brothers along with Li Hanxiang, Hu Jinquan and Chu Yuan.

After the reform and opening up, the mainland had secret contact with many Hong Kong filmmakers and sent them invitations, hoping that they would come to the mainland to make films. Some people agreed, such as Li Hanxiang, and some people failed to make the trip for various reasons, such as Hu Jinquan. However, the mainland did not send an invitation to Zhang Che, because they knew that he was friends with Chiang Ching-kuo, and thought that it was impossible for him to return to the mainland to make films.

Now hearing David Jiang's proposal to cooperate with Zhang Che, Xu Wangqiu couldn't believe his ears: "You're not joking, are you?"

David Jiang said with a serious face: "What I said is true. ”

Xu Wangqiu couldn't help but say, "Will your master agree?"

David Jiang nodded and said, "My master has been banned from leaving the country for a few months in Taiwan, and he is really sad. He won't go to Taiwan to make movies, and now Shaw Brothers is ready to quit the film industry, so he can only cooperate with you. ”

Xu Wangqiu felt that Zhang Che and the older generation of people like them value face very much, Zhang Che bent his face in Taiwan, as long as the export company gives enough face, then he will definitely cooperate with the export company, and immediately said: "I think so." I'll tell Mr. Liao in a while, and when the time comes, we'll visit and invite Director Zhang Che to cooperate with us. ”

When David Jiang heard Xu Wangqiu say this, he immediately smiled: "Wangqiu, I'm bothering you." ”

"You're polite to me. Xu Wangqiu waved his hand, "Hurry up and get out, don't delay me from eating." ”

Jiang David felt that Xu Wangqiu was hungry, smiled at him, and got up to leave.

Xu Wangqiu saw David Jiang leaving, and gobbled it up again. He was about to eat up a plate full of food and was about to get some more, when suddenly a familiar voice came: "Wangqiu! You are here, let me find it!"

Xu Wangqiu looked up and saw that it was Xia Meng, followed by a woman in her thirties who wore glasses, and she didn't look good. He seemed to have seen this woman somewhere, but he couldn't remember it for a while, so he smiled at Xia Meng: "Sister Xia Meng, when did you come? I didn't see you just now, I was still wondering if "Cold" had not passed the trial, and you were angry with me." ”

"Am I so stingy?" Xia Meng deliberately straightened his face, but soon laughed again, "Yan Hao's new film "Like Water Flowing Years" has many scenes to be filmed in the mainland, and I went to Lingnan with him to survey the scenery. I know you're going to hold a film festival in Hong Kong, so I'm definitely going to come back and see it. It's just that the plane was late and it's only coming back now. ”

Xu Wangqiu nodded and looked at the woman next to Xia Meng: "Who is this?"

Xia Meng smiled and said, "I'll introduce you." This is Xu Anhua, the director of "Running to the Angry Sea". I don't need to introduce this one, it's director Xu Wangqiu. ”

Directors are more narcissistic, and so is Xu Wangqiu. In his eyes, most of Xiangjiang's directors are not very good, and very few have a level. Among the directors of Xiangjiang, in addition to Wong Kar-wai, there may be Xu Anwar.

Hearing that the person in front of him was Xu Anhua, Xu Wangqiu hurriedly greeted: "It turned out to be director Xu Anhua, I have your "Running to the Angry Sea", this movie is very well made. When directors of Xiangjiang make movies, the pattern is often very small, even if it is a big subject, the pattern is often very small. "Running to the Angry Sea" is a movie that really has a big picture, which is really remarkable. Seeing that Xia Meng and Xu Anhua were standing, he hurriedly beckoned: "Don't stand, sit down and talk." ”

Xia Meng said with a smile: "I'll go to meet the rest of the delegation, come to you when I have time, or you two directors will communicate." After speaking, she explained a few words to Xu Anhua and left.

Xu Anhua sat down opposite Xu Wangqiu: "I have watched all your movies, and I have watched them many times. The first time I watched "The Rape", I almost wanted to give up the movie, thinking that I might not be able to make such a movie in my lifetime. ”

Xu Wangqiu smiled: "There's no need to compare with others, just shoot what you want to shoot." ”

Xu Anhua nodded, staring into Xu Wangqiu's eyes: "Can I ask you a question?"

Xu Wangqiu said briskly: "You ask." ”

Xu Anhua said slowly: "The people's film movement you engaged in is very interesting, there are ten rules, one of which is that the camera lens is a person's eye, a person is alive, the lens should be moving, and the camera must be held to shoot." Can you explain that?"

Xu Wangqiu explained: "Vertov has a famous theory of the cinematic eye, simply put, the camera is the eye, and the creator is looking at the world through these eyes. I think Vertov's theory is not comprehensive enough, he only sees the camera as the eye, but ignores the problem that the eye has a master, either a human being or an animal, in short, a living organism. Since it is a living being, then he must have emotions, he will be afraid, he will be afraid, he will be surprised, in short, he will have all kinds of emotions. And this emotion can be presented through the movement and shaking of the camera. ”

Xu Anhua suddenly realized: "So that's the case. In the movie "Hoe Rape", when Liu Ying died, he did not shoot Duan Haiping or Liu Wenying, but the alley in front of Duan Haiping. The camera is static at first, then suddenly shakes violently and moves rapidly towards the alley. At the same time, footsteps sounded, and Duan Haiping's crying voice sounded. When I saw that shot, my hairs stood on end, and I felt the inner life of the characters. ”

Xu Wangqiu smiled and nodded: "I think if the camera doesn't move, it means that the owner of the perspective is inanimate, and the living body must be moving." Even if he stood still, he would breathe, and his body would still move, but perhaps slightly. If it's not a living organism, for example, the picture is taken by a surveillance head, then the camera can't move, and it's okay to use a fixed lens. But as long as the owner of the perspective is a living being, the camera must move. If Vertov is the theory of cinematic eyes, then our philosophy is the theory of cinematic life. So, we proposed that handheld photography was a necessity. You may think that our idea is wrong or biased, but this is our philosophy and what we are after. ”

Xu Anhua was about to speak, when suddenly a voice came from next to him: "I think it's very good, there is no right or wrong in art, you have your own set of artistic concepts, and you can practice your own artistic concepts, which is very remarkable." ”

The two turned their heads to see that it was Tian Zhuangxing and Lin Niantong, a famous film theorist in Xiangjiang.

Xu Wangqiu suddenly smiled: "It's you." Let me introduce you, this is Tian Zhuangzhuang, who is a classmate of me, and this is director Xu Anhua, a very good director. This Lin Nian and Mr. Lin should both know each other, so I don't need to introduce them. ”

Xu Anhua has never seen Tian Xiangxiang's movie, but she knows that Xu Wangqiu's classmates are quite powerful; Tian Xiangxiang has never seen Xu Anhua's movie, but those who can sit and talk with Xu Wangqiu are definitely not ordinary people. The two greeted each other very politely and said that they must take a good look at each other's movies if they have the opportunity.

Lin Niantong smiled and said to Xu Wangqiu: "I talked to Mr. Tian about the aesthetics of Chinese films just now, and I wanted to talk to you about it, but I didn't expect you to talk about movies with director Xu Anhua." Didn't bother you, did you?"

Xu Wangqiu said: "We are also talking about movies, since you are here, let's talk together." ”

Lin Niantong nodded with a smile and sat down with Tian Zhuangzhuang. Lin Niantong is a person who is dedicated to establishing a Chinese film aesthetics system, and this is what he just talked about with Tian Zhuangzhuang, and he also wanted to talk about this when he came to Xu Wangqiu: "I just talked to Mr. Tian about the issue of traditional Chinese aesthetics and Chinese film aesthetics, what do you two think about this issue?"

Xu Anhua looked up at Xu Wangqiu and wondered what he thought. However, Xu Wangqiu said: "Lady first, let's talk about it first." Xu Anhua shook his head: "I have never thought about this issue, I don't know what to say." ”

Everyone's eyes focused on Xu Wangqiu, wondering how he would answer.

After the reform and opening up, Western humanistic theories were introduced into China in large quantities, and various disciplines were influenced by Western thought. As a kind of imported art, Chinese film is learning from the experience of Western films while exploring its own way of development. A large number of Western theories seem to be in line with international standards, but in fact there is a huge hidden crisis, Chinese film aesthetic theories are basically from outside the region, without Western theories can not speak, we have no own language to express ourselves.

Under such circumstances, a voice began to emerge in the Chinese film industry, and while we learn from the West, we must realize the nationalization of films. The 1979 Film Creation Conference, the 1980 Symposium on Film Nationalization, and the Symposium on Film Aesthetics all focused on the issue of the nationalization of Chinese films. At the same time, a number of articles trying to construct a theoretical theory of Chinese film aesthetics with national colors began to be published in various journals.

At the same time, the Hong Kong film industry is doing almost the same thing. In the late 70s and 80s, a group of young scholars in Xiangjiang set off a wave of mainland fever in the film industry, conducting organized, programmatic and planned research activities on Chinese mainland films, especially early films, and exploring the national aesthetic tradition of film. Among them, Lin Niantong has the highest achievements and the greatest influence.

Xu Wangqiu did not participate in the discussion of establishing a national film aesthetic system, and he knew that this would not be possible in a short period of time. The discussion on the establishment of a Chinese film aesthetic system has been ongoing, and some people have been working hard, but until Xu Wangqiu crossed, China still has not established its own film aesthetic system.

Now hearing Lin Niantong ask, Xu Wangqiu showed his point of view: "I think it's too early to talk about the establishment of a national aesthetic system, and it is impossible to realize it in the short term." Movies are imported products, and almost all film theories are put forward by the West, and we are far behind the West. I think that if you want to break other people's systems and build your own, you must first eat other people's things. Only on the basis of thoroughly understanding other people's theories can it be possible to break the original system and establish a new system.

Can China establish a film aesthetic system of its own? I think it is definitely possible, but it is impossible to achieve it in the short term. I think that only when Chinese films really take off, the entire film industry is truly prosperous, and a group of film masters appear, on this basis, it is possible to establish a set of film aesthetics system that belongs to us. ”