The "new" force of Chinese films has gradually become the backbone of the reform.

"in recent years, the cluster rise of a large number of new creative talents, such as new directors, new screenwriters, and new actors, has gradually become the backbone of Chinese films."

original title: "New" Power has gradually become the backbone of Chinese films

"in recent years, a large number of new creative talents, such as new directors, new screenwriters, and new actors, have risen in clusters, and have gradually become the backbone of Chinese films." On the 27th, a person in charge of the State Administration of Press, publication, Radio, Film and Television said at the third "New Power of Chinese Film" Forum held in Hangzhou that under the promotion of these new forces, China's film market has shown new vitality, new expression and new vitality.

strong > the new director stimulates new vitality / strong >

with the continuous deepening of the industrialization reform of Chinese films, the productive forces have been fully released and stimulated, and the injection of "fresh blood" into the film director industry has become a new engine to stimulate creative vitality.

the new generation of directors headed by Lu Yang and Xu Haofeng have come to the fore in genre films, which has brought the development of Chinese film genre into a new stage.

"Master of hypnosis" and "Master of memory" prove that Chinese movies can also seamlessly graft soft science fiction and thriller elements. The advent of works such as "embroidered Spring Dao" and "Master" shows the charm of traditional martial arts and new martial arts incisively and vividly, and conveys the cultural value of China. Different types of iconic films appear to meet the needs of different levels of audiences.

not only that, a group of film directors with humanistic care and artistic personality have also gained more room for growth and achieved unprecedented success at the box office and word-of-mouth.

in 22, Gang Rinpozi told the story of pilgrims in the form of a documentary, sparking discussion about "faith" and thus breaking the curse of low production of art films. In the way of "oral history", "Gang Rinpozi" quietly completed its understanding of history and compassion for life, becoming China's first record film with a box office of more than 100 million yuan.

"Art films have gained a foothold in the Chinese market, which proves that there is no need to be high and low, and spiritual strength alone can still conquer the audience." "22" director Guo Ke said.

while Wu Jing, Xu Zheng, Li Chen and other "new forces of directors" from actors across the border also provide a lot of inspiration for the generation mechanism of talents in the industry. Participants believe that the flow between different types of work in the industry is bound to bring new perspectives, new ideas and new ideas.

strong > New screenwriters give birth to new expressions / strong >

"script is the foundation of a play". And a group of new screenwriters are trying to get rid of the shackles of the framework that Chinese films have maintained for many years, and replace them with more mature, down-to-earth genres.

on the one hand, a large number of new generation screenwriters, represented by Xu Haofeng ("Master") and Dong Runnian ("Lao Pao er"), have begun to come into public view; on the other hand, original screenwriters such as Zhang Tianhui, who were born from various incubation plans, as well as writers transformed from writers such as Bao Whale and Zhang Jiajia, are also giving full play to telling fresh Chinese stories.

participants believe that under the new pattern of full grafting between the capital market and Chinese films, the foundation, base, and motivation of screenwriters have not disappeared, and screenwriters are still the first driving force for the development of the film industry.

"War photographer Robert Capa says that if you don't shoot well enough, it's because you're not close enough. For the screenwriter, if you are not good enough, you are not close enough. " Yuan Yuan, screenwriter of the movie "get out of tumor," said that if the film is compared to a relay race, the screenwriter as the first leg, there is a long way to go.

screenwriter Zhang Jiajia describes her career as a "mirror" of this era. "as the old saying goes, 'how can a mirror be correct?' I think every screenwriter is like a mirror maker, while a film is like a mirror in the hands of tens of millions of audiences, with good values and world outlook."

however, professionals also point out that there is a gap in the quality of Chinese film creation, which is still reflected in the lack of storytelling ability in the first place.

in the process of finding Chinese themes and telling Chinese stories, a group of new writers have begun a new exploration. Screenwriter Liu Yi said that in the process of writing the Wolf Warriors 2 screenplay, although it draws lessons from the creative rules of Hollywood-style films, the core uses Chinese characters, stories and spiritual strength. "through Chinese stories and highly typed storytelling, our films can go further and truly achieve cultural self-confidence and values export."

strong > New faces inject new vitality / strong >

with the continuous upgrading of the film industry, a new generation of actors are constantly groping on the road of performance, injecting vigor and vitality into Chinese films.

Zhou Dongyu, who won the Golden Horse Award for Best Actress for" July and Anson ", has become more and more aware of the responsibility of the word" actor "after creating a number of female roles with the distinctive brand of the times. "We need to create powerful works, and we also need to rely on self-consciousness and self-discipline to influence more people."

however, many new generation actors have been criticized for paying too much attention to "fan flow" and not reflecting the price in terms of value. Zhang Hongsen, deputy director of the State Administration of Press, publication, Radio, Film and Television, once bluntly pointed out that the impetuous wind has become a "roadblock" in front of Chinese films, affecting their sprint to a higher level and larger capacity.

in fact, most of the new generation of actors have a clear understanding of their strengths and weaknesses and consciously improve their professional level. At the meeting, actress Yang Mi said that in order to have professional ethics in filming, we should adhere to the "craftsman spirit," and called on young actors to make use of their charisma to establish correct values for contemporary young people. Actor Lu Kui believes that "acting comes first." as a young actor, he should have the courage to experience, bear hardships and work hard.

attendees believe that the incubation of the new power of actors requires the upgrading of the entire film industry and gives it enough room for growth. For example, in the main theme movie "the Great cause of Building the Army", we can obviously see the promotion of the new generation of actors, and a group of young faces have shaped the image of the "youngest" Chinese generals.

the new generation of actor Liu Haoran, who plays General Su Yu in the film, admitted that there are many forms of cultural communication, and as an actor, he is very proud to be able to convey the Chinese spirit in the form of a film. "the new generation of actors have an obligation to shoulder such responsibilities. only in this way can we have a strong degree of cultural self-confidence.

Edit: mary