Film evaluation of Chinese daughters

The film won the "Freedom Struggle Award" at the 5th Karlovy Farley International Film Festival in Czech Republic in 195, and the second prize of excellent film from 1949 to 1955 was awarded by the Ministry of Culture. As the co-director of Ling Zifeng and Zhai Qiang, The Chinese Daughter was the earliest film showing the revolutionary war during the founding of New China, and it was able to gain international appreciation, which was inseparable from the background of that time and Ling Zifeng's personal artistic pursuit. In the early days of the founding of the People's Republic of China, the revolutionary situation in the whole country was unprecedentedly high, and the vast number of filmmakers sang praises of workers, peasants and soldiers and new life with full enthusiasm and exuberant creativity. They were full of true feelings, and the films they made were true, simple, with the flavor of the times and life. Moreover, at that time, the Party's policy on the film industry was relatively loose, and it was based on the creation itself. The corresponding film creation reflected the life, the characters, rather than the ideological propaganda. Chen Boer, who was in charge of the film, also said: "We advocate developing our feature films on the basis of documentaries." This realistic tradition inherited from Yan 'an Documentary School has become the biggest feature of the film "Chinese Daughter"-documentary. This documentary aesthetic style, combined with director Ling Zifeng's personal artistic pursuit, inspires a brand-new spark, which makes the expressive means of film works bright and rich. Ling Zifeng incorporated his own life experience and previous experience in rehearsing "Grange Drama" when shooting the film. He took all the creative staff to the jungle where the anti-Union fighters lived, experienced the life of the anti-Union fighters, and made perfect use of the real scene to shoot. Because most of the actors at that time had real experience of army life, they were almost completely integrated with the real environment when performing. In this way, The Chinese Daughter is not only meticulous in the characterization, but also true and reasonable in the environmental atmosphere and narrative time and space. Starting from the characters, it also shows a broad cross-section of the hard fighting life of the anti-Japanese soldiers. The film structure is free, the editing is smooth, and the drama is not blindly dramatic, but emphasizes the truth of life. Ling Zifeng's consciousness of conscious modeling expression, which was cultivated by his profound artistic accomplishment, and Qian Jiang, a famous photographer in the early days of New China, carefully crafted the picture composition and lighting design, which made Chinese Daughter particularly outstanding in cinematic expression means, thus giving the audience a strong visual appeal.

This film is based on Eight Women Throwing into the River by screenwriter Yan Yiyan, and successfully created eight anti-Union women fighters with distinct personality images. In particular, Hu Xiuzhi, played by Zheng Zhang, was not an anti-Japanese warrior of "Gao Daquan" at first, but had a clear growth line with the plot of the film: feudal kannika nimtragol-anti-Japanese warrior-party member born in China-an anti-Japanese heroine who died bravely. From today's point of view, this growth line has almost established a model example for such narrative genre films in New China in the future (especially films 78 years ago)-the establishment of the heroine image in the representative work Red women soldiers by the famous director Xie Jin is also similar to it. The characterization of the eight female soldiers is also the "pioneer" for the "masculinization" of revolutionary women in the new China movies in the next 3 years: the so-called opposite-sex attraction love often stops at the battlefield friendship of revolutionary comrades.