Handbook of Youth Movies Volume II

Cheng Qingsong, a young screenwriter and film critic. The films written by screenwriters include Past, Silent Far Mountain, Boundless Jungle, The Price of Happiness, Good Night Chongqing and so on. His works include foreign post-modern movies, and my camera won't lie-the files of pioneer filmmakers, and visible images. In 2009, he became the editor-in-chief of Youth Film Manual. Stepping into 2009 and reviewing the film environment in China in 2008, we deeply feel that China's film criticism has actually stood at a turning point. The following text will roughly explain the position and viewpoint of the film handbook, and also explain our expectations and demands for the film review environment.

Our Views on China's Film Criticism

First, the lack of conscious reflection, film criticism has become a tool to sing praises, committed to creating a "children's world", moving towards vulgarity, and creating cheap and even deceptive "singing and dancing." Lack of rational doubt and reflection on the content and form of the film.

Second, the unique profit-seeking tendency of the market economy drives film critics and individuals to comment purely for money, downplay or even forget their criticism responsibility, and create a "movie box office bubble" at will, becoming a commercial "pimp", and theory becomes a tool to highlight the supremacy of box office.

Third, the mainstream media is dominant, the language style of film criticism is rigid, and foreign theoretical resources are simply imitated, copied and even misappropriated, instead of following the logic of the theory itself (scientific logic and creative logic), it must follow the logic of the media (all of which are transferred by mainstream public opinion).

Fourthly, the purpose of critical reflection on movies is to critically reconstruct movies. From Bazin and Truffaut of the French new wave to Peggy Chiao and Wu Nianzhen of Taiwanese new films, all the real film critics have never said anything, while China's film criticism only stays in the expression of ideas, which is not practical enough.

Fifth, 2008 is the 30th anniversary of China's reform and opening up, and the death of Director Xie Jin also makes us feel sad. We specially send Mr. Zhu's criticism of Xie Jin's films, which is just our sincere commemoration of director Xie Jin.

Sixth, in 2009, when Nanjing Nanjing, a deformed film with commercial consumption and national humiliation, wantonly polluted our audio-visual by buying out all media resources, we knew that the road of film criticism in China was still extremely long. Therefore, we solemnly launch the works of film critics such as Cui Weiping, Zhu, Du, Jiang and so on, which can be regarded as doing something we think should be done for the ecological environment of China films. The Youth Film Handbook will also pay continuous and in-depth attention to all the films in China with a critical attitude.

The film criticism environment we are facing.

The increasingly open society makes it possible to introduce foreign academic translation (as a necessary ideological resource for reference) and obtain local information (as a cognitive-experience platform for critics). We believe that the cognition, cognition, insight and feeling ability of the film critic himself has reached the level equivalent to his own mission, and the collectivization of the film critic himself (Sartre's language), which fully demonstrates his internal contradictions and tensions, provides the premise for the critic to form his thoughts. Our generation should be lucky that the subject and object have reached the maturity that history can tolerate.

We look forward to change and our determination.

First, reflective criticism is first of all a criticism of the film art that the audience is accustomed to, or that the filmmakers deliberately carve, and also a criticism of the social phenomena that the film art shows or covers up.

Second, scientific critical thinking must be independent and independent, based on the full development of free consciousness, and grasp the objectivity and systematicness of critical objects in theory.

Thirdly, based on a deep understanding of the tension nature of local social life phenomena, the relationship between the new industrial civilization era and film works, we should creatively and constructively develop our own critical discourse system, and form a powerful interpretation framework and knowledge system that can not only contain the unity of film art, but also focus on China's film criticism and cultural reflection.

Fourthly, it is the core significance of independent criticism to influence or even promote film creation with film criticism.

For us, movies are not only art, but also an important part of life. We believe that China's films have more possibilities, and we are eager for spiritual support from like-minded friends. Foreword:

The Position and Attitude of Youth Film Handbook (Cheng Qingsong)

First, mainstream film units

(1) "Assemble" kitsch aesthetics Cui Weiping

Cui Weiping's Narration of "Assembly"

Duties and tasks of the Parliament of Chun Qing

(2) Pang Qingyun in warlords: How can there be a little good Hao Jian under great evil?

(3) The Beginning of Spring: the sublime absurdity or the absurd sublime Li Duoyu.

(4) Mei Lanfang: The theme dispersion and the political settlement of Hao Jian.

The film festival belongs to the film festival Mei Lanfang, which belongs to Mei Lanfang and Cui Weiping.

The era of disappearance: Ming Jiang

(5) Red Cliff is a fable of China in the era of globalization. Salva

(6) "Twenty-four Cities": Jia changed his face and.

(7) Li Fang: Movies are my greatest happiness and dream in my life, Song Jianjun.

(8) Du; Film, a production field.

Second, the 30th anniversary of reform and opening up.

China's film Song Jianjun in the era of reform and opening up.

"Time flies" feature film: 1978-2008 Our screen memory movie channel program group

Commemorating Xie Jin: Keeping the Bottom Line of Independent Speech Ding Chenxin

Debate on "Xie Jin's Film Mode"

-Zhu, the black memory in the wave of cultural renaissance in the 1980s.

Third, the era of independence

(A), independent film reviews

A Brief Introduction to the Independent Film Zhang Yaxuan

Zhang Xianmin's opaque borders.

Interview with Zhu Qi: The Expression of DV Images to the Underclass in Zhang Yaxuan

Dvism Cui Zien

(b) Interview with cutting-edge directors

Gao Wendong: sublation of film language in Food Village

Liang Ying: Our cognition is equivalent to that of Li Ming.

He Jia: Geng Cong in a documentary poem The Good Earth.

Hao Yifeng: Looking for the blurred sky of youthful Song Jianjun.

(C), the documentary wave

(8) Report on the villagers' image plan.

(10) Interaction between Video Technology and Creation Zhang Xianmin

Geopolitical Zhang Xianmin (1 1) documentary

(12) Supermarket Landscape Xu Zhanxiong

(4) China's independent image from the western perspective.

China Independent Film Overseas Edition

Fourth, the theme of michelangelo antonioni commemoration

(1) Xu Zhanxiong in the shadow of antonioni.

(2) The endings of these films are all Wang Yang.

(3) Love has been submerged, Wang Yang.

(4) What do you want? -from novel to film Zhang Xuan

⑤ Hou Yujing in antonioni in my memory.

Verb (abbreviation of verb) film festival (exhibition) guide

China films at the International Film Festival in 2008.

The 5th Annual Exhibition of Independent Images in China

Beijing Literature Exchange Week

Yunzhinan Documentary Film Festival

Hong Kong Video and Digital Short Film Festival

Busan Film Festival, Korea

Tokyo Film Festival, Japan

Asian film festival guide

100 the most beautiful film selected by the French film handbook

100 the best film selected by American Entertainment Weekly

Sixth, the youth movie handbook movie book recommendation

Postscript: Is our movie dead, Song Jianjun?