Zhang Ran has been dissatisfied with the Chinese film criticism for many years. He has always believed that the elm thinking of these people is the scourge of Chinese films, but he has never found a suitable opportunity or object to start swearing. Now Zhu Dake, the so-called critic who Zhang Ran despises, jumped out, and he finally had a target.

Sitting in front of the computer, Zhang Ran thought for two seconds, then typing on the keyboard, turning his inner dissatisfaction into characters, and then posted it on his Weibo in the form of a long Weibo.

After Zhang Ran finished knocking, Zhang Jingchu snatched the notebook directly, and saw that it was written on Weibo: "I have always heard that there is a professional businessman in the Chinese cultural circle. Xie Jin became famous in the 1980s. From then on, he found that nonsense can not only cover up the fact that there is no ink in his stomach, but also increase his popularity and fame and fortune. So he took it as his mission to touch the porcelain, and now he has become a cultural scholar.

I didn't expect that I would come to me today. Unfortunately, I am not Xie Jin or Zhang Yimou, and I will not let others insult and say nothing. I don't have a good face for a person like Zhu. In fact, the reason why I hate Zhu so much is not because he is trying to do something, but because this clown tricked Chinese movies!

Before the founding of the People's Republic of China, the center of Chinese films was in the Magic City, and the filmmakers in the Magic City were mainly influenced by Hollywood films. After the founding of the People's Republic of China, these filmmakers became the main force of various film studios. Shanghai Film Studio has also continued the classic Hollywood narrative style. In the 1980s, Shanghai Film Studio began to learn from Hollywood again and conducted many useful explorations, such as shooting science fiction films. At the same time, at Xi'an Film Studio, Zhang Yimou and the fifth-generation directors who graduated from Beijing Film Studio were also entering the film industry as pioneering films.

These are two completely different paths. If everyone explores and develops on their own, then Chinese films are likely to have two film centers, commercial film centers and art film centers like American films, so that they can walk on two legs.

However, Zhu Dake initiated a criticism of the Xie Jin model in 1986, linking the Xie Jin model with the Hollywood model, believing that Shanghai Film Studios was deeply influenced by Hollywood in the United States, and its director accepted the cultural colonization of Hollywood.

In 1985, an anti-bourgeois liberalization movement began in China. Zhu Dake now said that Shanghai Film Studio and Xie Jin accepted Hollywood cultural colonization, which was facing political risks for Shanghai Film Studio and Xie Jin. So, Xie Jin began to seek transformation and never made a masterpiece like "Furong Town"; Shanghai Film Studio was also the main force of Chinese films and gradually became a third-rate company with no creativity.

This time, the criticism of Xie Jin destroyed Xie Jin and Shanghai Film Studio. More importantly, it destroyed the most precious wealth accumulated by generations of Chinese filmmakers and used images to tell stories; the mainstream of Chinese films turned to pursue philosophical ideas, downplayed the plot, opposed sharp contradictions, and emphasized the exploration of human nature. Since then, Chinese films and audiences have gone further and further. As Chinese films continue to win awards overseas, the rapid collapse of the Chinese film market was the timely collapse of the Chinese film market, in 1994, Hollywood blockbusters had to be introduced to boost the market.

However, the satirical and humiliation of history are bitter. Twenty years later, the fifth-generation representative Zhang Yimou, who was praised by Zhu Dake and others, and Chen Kaige, are now learning Hollywood in full and returning to the Xie Jin model. However, they started with anti-story and anti-drama. The most criticized by the audience in their movies is that they cannot tell stories!

Let me tell you about this today, not because Zhu Dake is responsible for the Chinese director’s lack of storytelling, nor because he is responsible for the lost twenty years of Chinese films; but because Zhu Dake always likes to talk about ideas, pursues philosophical ideas, and always requires profound idiotic thinking, and is still the mainstream of Chinese film theory and film education. If this kind of thinking does not change, the foundation of Chinese film is bad. If this kind of thinking does not change, Chinese films will be helpless!

They like to scold commercial films when they are fine, thinking that it is depravity. Ning Hao's "Crazy Stone" scolds Zhou Xingchi's "Kung Fu" and Feng Xiaogang's movies are also scolded by many people. As long as it is a commercial film, they don't scold them. These psychopaths are like Chinese movies all day long, as if they are doing Chinese movies, but in fact they are driving Chinese audiences to Hollywood movies! Why are Chinese audiences unwilling to watch domestic movies now? Why do they say trash when they mention domestic movies? It's this bunch of garbage that is damaged!

To put it in the prime minister’s words, the people just like entertainment movies. If you don’t like them, who are you?”

After seeing this, Zhang Jingchu said in a daze: "Your cannon is too big, right?"

Zhang Ran said firmly: "I have been holding these words in my heart for many years, and I can finally speak up this time!"

Zhang Jingchu said worriedly: "But you even scolded the entire Chinese critics, I'm afraid that half of the critics will jump out and scold you!"

Zhang Ran smiled and said, "There are only a few people in the critical circle. Standing behind me, there are hundreds of millions of ordinary audiences who want to watch good movies. If these experts and professors dare to come out, they will know what the vast ocean of people's war is!"

In fact, film reviews are very important to the development of a country's film. Good film reviews can discover buried good works, provide technical insights, encourage and recommend good filmmakers, and can have an impact on the status and value of artistic works. However, China's academic film reviews are now terrifyingly outdated and extremely extreme, and it is almost difficult to see valuable comments.

Chinese movies are bad, but Chinese movie reviews are even worse than movies!

Zhang Ran’s Weibo has received enthusiastic support from many netizens. In just a few minutes, it was reposted a thousand times, and the comments were even more than two thousand!

"Damn, Zhang Ran actually cursed people! But the scolding was right, I firmly support it! These immortals think they understand art. You ask him what art is. They have to be stubborn: If it is black and white, if it is serious, it will take off. If the people cannot understand it and only my professor can understand it, in short, I say it is art. Damn, I think you have seen too much!"

"Zhang Ran is right. He is most annoying to these people with the title of professor. Zhang Ran and others worked hard to make a lot of difficulties to make a film, and they found some fun for the people. You sit in the big hug with your eyes closed and you pick bones in the egg. What quality is it! You are so full that you are so full, you really want to find a sucking type!"

"What is an art film? The box office is bleak and no one cares about it. I'm most annoying about this so-called expert pretending to behave, thinking that he understands art by himself. It's not that he looks down on you, but if he really talks about art, Teacher Zhang is leaving you eight streets behind!"

Zhu Dake quickly responded to Zhang Ran on his blog: "I was shocked after reading Zhang Ran's criticism of my article "Old Thoughts on the Great Earthquake" on his Weibo. Zhang Ran actually believed that because of my criticism, Xie Jin and Shanghai Film Studio were slumped since then. There was no basis for this view. On the other hand, Shanghai Film Studio did not reflect on the dispute in time, but instead avoided medical treatment and siege it, thinking that it would be able to suppress different voices. As a result, it became a big hit and finally became a third-rate company with no creativity. To this day, it still could only rely on recruiting Hong Kong and Taiwan stars and government funding to survive. Its tragic fate is a microcosm of the history of the Great Recession of the Chinese film industry.

What shocked me even more was Zhang Ran's abuse of me. You can disagree with my point of view and don't like my articles, but you can't use rough and vulgar words like "silly" and "psychopath" to curse people; this is not literary criticism, and these languages ​​are suspected of personal insults and personal attacks. Although the Internet is a free world, no one has the privilege of using it to curse people, nor has it cursed people's irresponsible immunity. The swearer must at least accept the self-examination and public trial of moral laws. I hope such an incident can provide a negative example for how to legislate the Internet and build the Internet morality."

Zhang Ran quickly responded to Zhu Dake: "Swearing? What people want to scold is called cursing? I just said it clearly, I have wanted to scold you for a long time. Thank you for giving me this opportunity!

There are many so-called critics like Zhu Dake in China. One of the common characteristics of these people is that they do not understand movies. Although many people claim to have studied in movies for many years, they can only create academic waste with old or even fallacies in a narrow range. They may be able to recite a few original words from Bazin or Eisenstein. A few words are said by many people, just like Kong Yiji knows the four ways of writing the word "心文". For example, a very famous professor talks about movie noir, and finally, I have seen a classic movie noir. I will tell you, when did "心文" become a movie noir?

In fact, as long as you look through domestic film journals, every popular film will definitely appear, a bunch of comments will appear, but these articles are basically the same pattern, repeating the content of the movie, quoting two sentences of Bazin, or grasping some theory to put it on the film, or it will be a thought. These practices seem very high-end on the surface, but in fact they are to cover up their ignorance in film technology and audio-visual language! I have read two reviews of Zhu Dake, and the evaluation is inferior to bullshit and has no academic value. It doesn’t matter if people like Zhu Dake are one or two, but they are a group in China and are the mainstream in the Chinese critics!

The evaluation standards of commercial and art films in the United States are different. For example, the rating on "Spider-Man T-is is higher than the masterpiece "Shawshank Redemption" in many people's hearts. Is "Spider-Man" more valuable than "Shawshank"? Of course not. The reason for this is that the evaluation standards are different. But no matter what movie we domestic experts evaluate, they evaluate the standards of art films. Only movies that express life philosophy and reveal social problems in their elm heads are good movies.

This concept not only dominates the critics but also the education community, because many so-called critics themselves are university teachers. When they stand on the podium, they instill this concept in students. Entertainment films are garbage, Hollywood is garbage dump, and students are all taught by European masters. They talk about thoughtfulness, aesthetic value, and aesthetic significance all day long, but not real technology.

Are there few film and television majors in China? Are there fewer films and films? Why can’t young directors come to play? This is the reason. These young directors learn things that are plot-based and counter-narrative. Many students do not even have basic audio-visual language skills after graduation. What they need now is directors who can tell good stories. They are not good at this at all, so how can they come up with it?

The biggest problem with Chinese films is not the General Administration, not the censorship, not the funds, nor the others, but the people who control the movie reviews and education. If these disasters do not get out of here, there will be no hope for Chinese films!”

After Zhang Ran posted this Weibo, half of the people in the comments were angry with his words!

We are the scourge of Chinese films?

We can defeat Xie Jin and criticize Zhang Yimou, and we can also destroy you Zhang Ran!

So, these experts and professors began to attack Zhang Ran, attacking Zhang Ran’s movies, what lacked the depth of thought! What cultural comprador! What rogue aesthetics! They all came out!
Chapter completed!