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发布日期:2021-03-23 00:42:01 发布者:Admin5  点击率:

In Chen Kexin's films, there is an angle and tension between the progress and maintenance of conservatism.


The sports film "Win the Championship" directed by Chen Kexin has been released, but "Li Na" has not yet been released.


The individualism shown in Li Na was the reason that attracted Chen Kexin to shoot at the beginning. Chen Kexin himself grew up in an atmosphere that encourages individualism, and he believes in individualism. Of course, "Li Na" is not only about individualism. From coaches, teams to national system reforms, there are "collective" figures.


In "Win the Championship", although volleyball is a team sport and collectivism and the main theme are indispensable, Chen Kexin realized during the production that this collectivism is not without individualism. From coach to main attacker, there are actually strong personal heroes. Confucianism.


It is precisely because of this that "Winning the Championship" has fallen into a state of "the left and right are not human" after it was released. In the eyes of people who defaulted that this is a main theme movie, the part that highlights the individual in the film is out of date, while in the other part. In the eyes of humans, it is so clichéd to follow the main theme.


So inevitably, the release of this film encountered some twists and turns. First, a meritorious coach objected to the film and asked to delete all the plots about him, "not only to protect the rights of personal name and reputation, More importantly, it is to protect the glorious collective of the Chinese women's volleyball team." Then, in January this year, it was named by People's Network and said that it should not be released rashly amidst the controversy. Finally, the film had to be renamed.


Respect for tradition and history, caring about the times and reality, and a stable identity, not only the understanding of the mutual existence of collective and individual relationships, but also the feelings and remembrance of wanderers’ homeland and country since "Tale of Two Cities", and The fascination between the spirit of reform and opening-up and the spirit of Hong Kong-the two have a certain degree of similarity.


Chen Kexin was very longing for the new wave in Hong Kong. Those young directors who studied abroad and had TV production experience cooperated with the traditional production staff who were born in film studios to push Hong Kong films to a new level. After the Hollywood experience, Qian In the jubilee year, he devoted himself to pan-Asian movies, and went to Hong Kong, Korea and Thailand to seek a new combination of Asian movies, because he saw the shadow of the new wave in directors from other countries...


In "The Chinese Partner", after the Chinese Embassy was bombed, someone besieged the education school. He borrowed it as Dongqing's mouth, "The dignity is given by oneself, and the Chinese should not beat the Chinese!" In "Win the Championship", no matter what. There must be the phrase "traitor" who has only lips but no sound and subtitles.


There are even some clichés and fake official roles in the two films, but if you compare them with similar roles in the films produced by Galaxy Image, such as "Underworld" and "The Tree Gets the Wind", you can feel a significantly different attitude. Wen Tianxiang once said to Chen Kexin that you and Johnnie To’s movies are both Hong Kong, but they are completely different.


Perhaps because he has been running around since he was very young, Chen Kexin has his own pessimistic logic, which is another kind of rootless situation. At this time, movies are also business. "I'm an outsider, no matter how bad the situation is, it's a big deal to pat the butt and leave, no matter how strong the fire is, it will not burn me."

也许是因为他从小就到处跑,所以陈可欣有自己的悲观逻辑,这是另一种无根的情况。在这个时候,电影也是生意。 “我是局外人,不管情况有多糟,拍拍拍子走都没什么大不了的,不管火有多强,都不会烧死我。”

He was born in Hong Kong. When he was 12 years old, his father's movie dream was disappointed. Chen Kexin moved to Thailand with his parents. That was an "uprooted" he didn't want.


From then on, he began to have an objective perspective on Hong Kong, and from then on, Chen Kexin's relationship with Hong Kong has entered a state of separation. Later, Chen Kexin went to study in the United States, and then returned to Hong Kong to make movies. He himself experienced these many departures and returns, so such scenes often appear in his movies. To


In 1983, Chen Kexin returned to Hong Kong to make a movie. In 1991, he directed the first film "Tale of Two Cities", but after filming "Sweet Honey" in 1996, Chen Kexin realized that Hong Kong movies were already in a very unhealthy state. The market is gone, and the funds follow the market. After filming "Sweet Honey", many company bosses told him to stay, but it may not be good to stay, and the budget for the next part of the scene may be lower. At that time, he wanted to stop for a while and see clearly, he just left when there was an opportunity to film in the United States.

1983年,陈可欣回到香港拍电影。 1991年,他执导了第一部电影《两个城市的故事》,但在1996年拍摄了《甜蜜的蜂蜜》之后,陈可欣意识到香港电影已经处于非常不健康的状态。市场不见了,资金跟随市场。在拍摄了《甜蜜的蜂蜜》之后,许多公司老板告诉他留下来,但留下来可能不好,而且下一幕的预算可能会更低。当时,他想停一会儿,看清楚,当有机会在美国拍摄时,他才离开。

Chen Kexin went to the United States in 1997. In 1999, Spielberg's "Love Letter" filmed at DreamWorks was released. This experience made him realize that the American system is more rigid and authoritative than Hong Kong, and he has no bargaining power alone there. , So he returned to Hong Kong, established Applause Pictures film company, pioneered the practice of "pan-Asian" model, produced a number of multi-national cooperation Asian films, "The Evening Lady", "Spring Passes"...

陈可欣于1997年去美国。1999年,斯皮尔伯格在梦工厂拍摄的《情书》发行了。这次经历使他认识到,美国体系比香港体系更为僵化和权威,他本身没有讨价还价能力。之后,他回到香港,成立了掌声影业电影公司,开创了“泛亚”模式的实践,制作了多部跨国合作的亚洲电影,《晚娘儿》,《春日通行证》 ...

In 2003, the "Mainland and Hong Kong Closer Economic and Trade Relations Arrangement" was signed. Hong Kong's Mainland co-produced films enjoy the same treatment as domestically produced films. Hong Kong films can be financed from the Mainland, and new opportunities are opened.


Chen Kexin began to go north. The first work, "If Love" in 2005, filled the gap in mainland music feature films. Han Sanping recalled that Chen Kexin's timing was very good. If it were earlier, the mainland film market would not have matured yet.

陈可欣开始向北走。 2005年,第一部作品《如果爱》填补了大陆音乐故事片的空白。韩三平回忆说,陈可欣的时机非常好。如果早些,大陆电影市场还不会成熟。

Then came the period costume blockbusters "Tou Ming Zhuang", "October Besieged City" and "Martial Arts". The theme of "October Besieged City" comes from Chen Kexin’s father, several generations of overseas Chinese in his family. “It’s more loyal to'patriotism'. The patriotism in my heart really comes from the heart. Because we have no country and cuteness since we were young, we are patriotic. Kind of dream".

随后出现了时期的服装大片“头明庄”,“十月围城”和“武术”。 “十月被围城”的主题来自陈可欣的父亲,他的父亲在他的家人中有几代华侨。 “它更忠于'爱国主义'。我内心的爱国心确实是发自内心的。因为我们从小就没有乡村和可爱,所以我们爱国。有点梦想”。

"October Siege" already has some main theme shadows. A group of revolutionary veterans used flesh and blood to face the Qing army assassins. They only escorted Sun Yat-sen to Hong Kong for a meeting and saved the country in dire straits. "I closed my eyes and saw China. The patriotic dialogue like "the future of the world" was written by Chen Kexin.

《十月围攻》已经有了一些主要的主题阴影。一群革命老兵用血肉面对清军刺客。他们只护送孙中山到香港开会,使这个国家陷入了困境。 “我闭上眼睛,看到了中国。像“世界的未来”这样的爱国对话是由陈可欣撰写的。

He insisted on leaving such an expression. This is the part that touched him the most in the whole film. “I didn’t mean to please the leader when I wrote this way. It was completely spontaneous. '".

他坚持要留下这样的表情。这是整部电影中最令他感动的部分。 “当我这样写时,我并不是要取悦领导者。这是完全自发的。 '”。

Chen Kexin doubts humanity, but his blood is flowing with the innocent and romantic feelings of family and country. He said that the people of Hong Kong seem to be very weak, but the fate of Hong Kong and the motherland are closely related and inherited. Hong Kong people have very strong patriotism, even more patriotic than mainlanders. Many overseas Chinese leave their hometowns, and because of this, they have stronger feelings for the nation and the country, the so-called homeland feelings of wanderers.


There is also "Martial Arts". As a Hong Kong director who has always made urban romance films, he also has the plot of a martial arts film. This is the most recognizable genre created in the peak of Chinese-language movies represented by Hong Kong. For Chen Kexin, the Shaw movies of the 1970s had the greatest impact. He had thought before that one day he would come across this subject. To make such a movie, Chen Kexin, a "semi-foreigner" who only studied Chinese in elementary school, is also a new understanding of the "root" of China.


The deeper roots are of course in Hong Kong. Chen Kexin said that he is a very authentic Hong Kong person. Although he has left Hong Kong since he was a child, his feelings for Hong Kong are


Chen Kexin went to the United States in the 1980s. It was also the best time for Hong Kong. At that time, he felt that he must return to Hong Kong. "The so-called Hong Kong spirit is at most ten years old. The central idea that Hong Kong formed this so-called value was in the 70s and 80s, and it has declined since the 90s."

陈可欣于1980年代去美国。那也是香港最好的时光。当时,他觉得自己必须返回香港。 “所谓的香港精神最多已有十年历史。香港形成这种所谓价值的中心思想是在70年代和80年代,并且自90年代以来一直在下降。”

In his view, only Hong Kong people born in the 1950s and 1960s have the spirit of Hong Kong and the spirit of Hong Kong films. People born in the 1980s are no longer the Hong Kong people in their minds.

他认为,只有1950年代和1960年代出生的香港人才具有香港精神和香港电影的精神。 1980年代出生的人不再是香港人。

Chen Kexin once cited an example of the "Hong Kong spirit". After the 1997 Asian financial turmoil and the collapse of Hong Kong’s economy, a former teacher (an experienced but unlicensed lawyer) in a law firm, after losing his job, went to open a rental house, turned the long-distance client into a regular client, and picked up the long-distance Later, there were more and more regular customers, and he went to the street to call those waiting taxis to pick them up, and there was no charge, which raised the realm of driving taxis.


"Be flexible, work hard, and don't give up. This is the loveliest place in Hong Kong. This is the spirit of Hong Kong. You will not sit there and wait for death."


In "Chinese Partners", under the background of reform and opening up, the experience of the three male protagonists having a bumpy start-up and succeeding from scratch is also a bit of the shadow of the spirit of "under the Lion Rock" in the past. Cheng Dongqing said in the movie, "What is a dream? A dream is something that makes you feel that persistence is happiness." Chen Kexin thinks this sentence is particularly good. He said that dream is a process, not an end, because it can be reached. There are too few people at the end.


Chen Kexin said that he had not personally experienced Beijing at that time, but he could find the most resonant parts in these stories and characters. When filming, he even felt like he was filming his own story. "I am more like I’m filming my youth. The mainland in the 1980s was like Hong Kong in the 1960s and 1970s. It was an era when Hong Kong’s economy took off. I felt like I was taking off with Hong Kong."

陈可欣说,他当时还没有亲身经历过北京,但是他可以在这些故事和人物中找到最共鸣的部分。拍摄时,他甚至觉得自己正在拍摄自己的故事。 “我更像是在拍摄我的青春。1980年代的大陆就像1960年代和1970年代的香港。那是香港经济腾飞的时代。我觉得我正在与香港一起腾飞。”

The box office of "Chinese Partners" of 537 million and later "Dear" of 344 million brought a sense of security that Chen Kexin had not possessed for a long time. He began to become more inland, looking for actors from the mainland and telling stories about the mainland. It takes skill to make an unremarkable character into a very good-looking movie. This is what Chen Kexin has been good at since "Tale of Two Cities", and it is within his safety.


He believed it was just a change of scenery, from Hong Kong to Beijing.


"Winning Championship" seems to be the same, but it adds a lot of themes and collectivism. Although this is not a true official theme movie, it also has the director’s own creative emotion and understanding, but the complicated setbacks here can be compared to movies such as "Tale of Two Cities" and "Chinese Partners". .

“胜利冠军”似乎是一样的,但它增加了许多主题和集体主义。尽管这不是一部真正的官方主题电影,但它也具有导演自身的创作情感和理解力,但这里的复杂挫折可以与《两个城市的故事》和《中国伙伴》等电影相提并论。 。

Chen Kexin just wants to reproduce the "beautiful and hopeful 80s" that he has not experienced, but described by people around him. After suffering, China's reform and development embraced the world and was embraced by the world. The women's volleyball team showed the world. China.


Almost 60 years old, he still remembers the scene when he watched the Chinese women's volleyball match live for the first time. It was in 1978 when he was 16 years old and saw the 18-year-old Lang Ping make his first international appearance.

快60岁了,他仍然第一次观看中国女子排球比赛时还记得那场比赛。 1978年,他16岁,看到18岁的郎平(Lang Ping)首次在国际上露面。

That year, China was about to begin reform and opening up. Volleyball was not just volleyball, it was a sigh of relief that the Chinese who had been dull for many years, and then changed the stars, and he became the person in charge of this drama sports film.


Seeing the world in a small way, Chen Kexin just wanted to express the 40 years of China well this time, but he has to continue to maintain a certain patience as always.


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