[This chapter can be used as a wedge, mainly in a hurry to review. It's been a long time since I've written it, so take your time to find the feeling! I hope that friends who like this kind of people will support a lot, and newcomers are difficult to mix. 】

"Ask yourself if you want to be a director? Why do you want to be a director!! Money? Belle? Reputation? Or is it art? Or even anything else you want to get? ”

In the lecture hall of the directing department of the Yenching Film Academy, a white-haired tutor is looking at the students below with sharp eyes.

"The dirtiness and lust for profit in the film and television industry are obvious to everyone, and such reports in the entertainment industry are endless! This is true in both China and Hollywood. (The Godfather's novel mentions the disgusting state of Hollywood, and everyone knows it!) So we have to set a goal for ourselves and work for it for the rest of our lives.

It's easy to say, but how many young people have fallen one after another. Failing on their path to pursuing their dreams, most people give up in frustration. Only a small percentage of people persevered and succeeded. And how many of the successful people are confused by the impetuous and realistic society...... They are no longer the dreamers who just wanted to show their ambitions! ”

On the seats, countless young people were sitting precariously. But only a small number of people listened carefully and thought.

They ask themselves or think about the future.

There was such an unsightly young man in the front row, who recorded the words of his mentor from time to time. Suddenly frowning, suddenly staring.

"In front of you are the Golden Statue Trophy, the Golden Horse Trophy...... Or even an Oscar trophy, money? Reputation? In fact, none of this matters, the only thing you have is hard work!

There are no examples of efforts in this world that have not succeeded. In fact, as long as you work hard, you will definitely succeed. Sometimes it's just the difference in talent and innate conditions that makes us not pursue as much honor as we imagined. But I can assure you that you will still get a fairly satisfactory answer.

To be a director, the first thing you need to do is to start watching films and books, can you put aside online games and other spiritual crow (harmony) films? Because the movie is a spiritual crow (harmony) film, this kind of noble thing, can only choose one to swallow.

As for genius: I can only say that directors do need some talent, but if you work hard, you can definitely reach a certain level, although it can't be compared with real geniuses, but there will be quite a height. It's something we can all be proud to mention in our old age......"

The tutor is not stupid, and he can naturally find that there are only a few students who are listening carefully. He sighed slightly in his heart, and then lifted the glasses on the bridge of his nose and said: "Now let's get to the point, the main thing this class is about: What is a "violent aesthetics" movie? ”

Sure enough, the teacher's words came out. Countless students' eyes lit up, and it was clear that this seemed to be what was going on for them.

Just when everyone was seriously looking forward to it, the tutor suddenly named him: "Lu Yan, do you know the content of violent aesthetics and Shaw Brothers films, and the relationship between the two?"

The young man who was holding the notebook was stunned, then got up and replied: "When it comes to Shaw Brothers movies, most people will think of martial arts movies, and when it comes to martial arts movies, most people will think of Zhang Che." Among the directors with the most representative surname of Shaw Brothers, Hu Jinquan retired to Taiwan after creating a new world of Shaw Brothers martial arts, and most of his achievements were achieved in Taiwan;

Li Hanxiang has very high achievements in historical films and Fengyue films, "The Burning of the Old Summer Palace", "Listening to the Government with a Curtain", and "Double Glory in a Golden Bottle" are well-known to Hong Kong film fans, but they are a few in and out for the Shaw Brothers, and their bloodlines are not pure;

Chu Yuan is extremely talented, and his diverse styles also make him lack centralized achievements.

In this way, Zhang Che has undoubtedly become the most representative of Shaw Brothers films and their glory, he only made films for Shaw Brothers all his life, and his works have a good reputation and box office, and many of them have master-level standards. In addition, Zhang Che pays attention to the cultivation of Shaw Brothers' successor talents, and in terms of actors, Wang Yu, Dillon, Li Xiuxian, Jiang David, Luo Lie, Chen Xing, Fu Sheng, and Chen Guantai became the backbone of Hong Kong martial arts films throughout the 70s; In terms of directors, Zhang Che has cultivated talents such as John Woo and Wu Ma, especially John Woo, who is more deeply involved in Zhang Che's true biography; In terms of martial arts instruction, Yuan Heping, Liu Jialiang, Han Yingjie and others who have worked with him have later become hot martial arts instructors in Hong Kong movies. ”

After listening to the answer, the tutor nodded with a smile and motioned for Lu Yan to sit down, and then said: "When many people hear the "Aesthetics of Violence" movie, the first thing that comes to mind must be John Woo. As everyone knows, Wu Yusen was cultivated by Zhang Che.

Violence may be the earliest and most lasting memory of most people's movie-watching. Violence as a social issue, as a philosophical issue related to life and death, has always attracted people's attention, and at the same time, it is an important landscape in the world's cinema corridor. From the early filmmakers' narration of violence to John Woo's "Hero Series" films in the 80s of the 20th century, the stylization of violence in John Woo's films has become a milestone in the history of the development of violence in films, because a series of Hollywood regulations restricting films in the past were all aimed at violence and pornography, and they only limited violence as a factor harmful to society or minors from the moral level, and these restrictions were closely related to the way violence was presented in films at that time.

The emergence of John Woo's "Hero Series" films has made his films with the theme of violence no longer regarded as "violent films", because he has provided audiences around the world with a new perspective on violence - the perspective of oriental aesthetics, which for the first time made violence a "meaningful form" (Clive Bell's words), and the subsequent stylized exploration of violence by Takeshi Kitano, Oliver Stone, David Lynch, Quentin Tarantino and others has also caused quite a stir in the world film industry, setting off a " The aesthetics of violence". , his representative works include "Pulp Fiction" and "Kill Bill";

director John Woo, who went to the United States from Hong Kong, China, to develop "Bloody Heroes", "True Colors of Heroes" and "Changing Face"; The Wachowski brothers' The Matrix series, etc. Personally, I think there is no better movie to take the term "aesthetics of violence" to the extreme, with the Sin City trilogy!

Just like the pluralistic characteristics of the post-industrial society that produced the "aesthetics of violence", the "aesthetics of violence" also presents a diversified style, style and spiritual connotation that includes both homogeneous and heterogeneous factors due to the differences in the regional and cultural backgrounds of different countries (regions).

"Violence" and "aesthetics" were originally two words that were not related, but at some point, they were combined into a new term, "aesthetics of violence", and gradually evolved into a popular concept. Many popular film and television works, new cartoon books, cartoons, and video games have used it as a solicitation, and the related cultural phenomena are not only closely related to fashion and consumption, but also have become the object of scramble for interpretation and review. How did the "aesthetics of violence" come about? What are its exact characteristics and connotations? How should we evaluate and view the cultural phenomena associated with him?

What is the "aesthetics of violence"?

I don't know when we see and hear more and more about the term "aesthetics of violence". In film criticism, the works of a number of emerging directors are considered to be related to the "aesthetics of violence", such as Quentin Tarantino in the United States and John Woo in Hong Kong. Some martial arts TV series, as well as cartoons that were originally simple and cute but were added to the violent content, were linked to the "aesthetics of violence"; Some newly launched video game products are also scrambling to use the "aesthetics of violence" as a selling point. Some journalistic works, such as crime records, television interviews, and photojournalism that show brutal scenes, are also labeled as "violent aesthetics". What exactly is the "aesthetics of violence"?

"Aesthetics of violence" is a general, pan-aesthetic concept, not a strict aesthetic concept, and the main characteristics of related works are to show the power of the offensive surname, and to show exaggerated and unconventional violence. In literary and artistic works, the presentation of violence can be divided into two different forms: first, after the violence has been formalized and socialized, its offensive surname has been softened, and violence has become easily accepted. For another example, in some American films, the perpetrator represents justice but is wronged, and this kind of character relationship also softens the aggressive surname of violence. On the other hand, the process of violence and the effects of gore are more direct, and the sensory stimulation of violence is exaggerated, a tendency that can be seen in a variety of cultural behaviors. The two types of violence described above have different aesthetic values and different social effects.

"Aesthetics of violence" originally refers to an exploration of the taste and form of film art that originated in the United States and matured in Hong Kong, China. Its characteristics are: the creator often uses postmodern techniques, either to dissolve the shootouts and fight scenes in the film into games and jokes with no specific meaning; Either symbolize it as a visual and auditory aesthetic element that is closely related to the content of the film. This kind of film pays more attention to exploring the sense of form of gunfights, martial arts actions and scenes, and carries forward the formal beauty to a dazzling degree, but ignores or weakens the social and moral functions in them.

Influenced by the "aesthetics of violence", in recent years, the treatment of violence (martial arts action) in martial arts movies and TV series has also appeared dance-oriented, poetic, and performative.

"Aesthetics of violence" is the embodiment of the "disappearance of the subject" among the four aesthetic characteristics of postmodernism in film and television creation, and these two contradictory words are combined to become a word with a new meaning. It weakens the traditional sense of subjectivity, pays attention to the details and scenes of violence, and presents the characteristics of opposing authority, classics, subjective creative consciousness, and elitism. ”

The tutor said seriously, and everyone listened very carefully.

Everyone here has probably seen John Woo's movies and learned about the so-called violent aesthetic films. Even many students hope to become a well-known director like John Woo in the future.

But Lu Yan imagined in his heart at the moment: If I am allowed to return to Hong Kong at that time, I must get to know these great directors well.

He fantasized that he had become a well-known director and became popular with countless artists. Enjoy the highest honors and get numerous trophies.

Thinking about it, Lu Yan's consciousness became weaker and weaker.

Suddenly, there was a panic in the classroom!

On the same day, there was a rumor circulating in the academy: Lu Yan, the most potential student in the directing department, died of myocardial infarction in class.

Countless people sighed for it, although he has not been able to shoot a real work. However, the short film he has filmed has won the first prize in the country. On the Internet, it is also praised.

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