Why are the shots and language of Chinese independent films so boring?

Now the concept of domestic independent films is basically equivalent to author films. Since it is an author's film, it definitely emphasizes personal expression rather than public recognition. Today's commercial films, so-called genre films, are products of the Hollywood system. Although its narrative rules and expression techniques are occasionally broken, the framework and rules of audio-visual language remain unchanged. Its influence affects almost all current film productions. After all, there is no audience that does not watch Hollywood movies at all.

Hollywood movies themselves are produced around the audience. They are the movies in which the author's personal expression is weakest, and the rules are the most rigid and strict. Independent films must be dull in comparison. American independent films are deeply influenced by the Hollywood system, and their audiovisual styles are passed down from generation to generation. It is natural that the audience will accept it highly. It is right or wrong to discuss the aesthetic differences between long shots and montage here. Eisenstein would probably be furious if he knew how we pass on montage today. But cinema is no longer the same thing as it was back then.

The current debate on the aesthetic differences between long shots and montage is actually the distinction between realism and fantasy. A long shot with extremely fancy scheduling is very common in Hollywood movies. However, this shift of perspective is not in line with life experience. When the author magnifies this, it is not realism in itself. Realism is respect for the authenticity of time and space, weakening the presence of the camera and editing, allowing the audience to fully pay attention to the recorded content. Fantasyism is committed to breaking the limitations of time and space, amplifying the audience's imagination, and creating surreal sensory stimulation. In fact, there are not many people who achieve the ultimate in these two. Most works wander between the two.