Fang Wenqing's composition material is 200 words.

As a new generation of lyricists, Vincent Fang's popularity is obviously faster than others. This paper will analyze the creative characteristics of Fang Zhouzi from the content and form, so as to sum up the reasons for his fame. In content, his creation is full of strong national flavor, and at the same time it is an arrogant cry of personality; Formally, he used the montage technique of jumping and rhyming throughout. Key words: national flavor, personality, montage, rhythm and rhythm; Jay Chou, the King of B, became popular in the three places across the Taiwan Strait and even in Asia, and Fang Wensheng, the main lyricist behind it, became popular with a large number of supporters. Pop songs are a kind of kitsch business culture, and its production, performance and popular mode are all dominated by market rules. It must adapt to the interests of cultural consumers in order to be accepted and play its value as a commodity, which means that it must not contain too many unique and creative contents. Throughout the evolution of pop songs in Hong Kong and Taiwan, TW region immediately entered the stage of urban love songs, and quickly reached its peak after the period of pure folk songs. At that time, healing love songs were all the rage and quickly spread to the whole Chinese music scene. The works of the same style emerged one after another, but most of them were narrow-minded, self-pitying and miserable, and repeated appearances made people doubt how real they were. The lyrics of this combination are even more elegant, which has the disadvantage of 1, and has influenced it to this day. When everyone is tired of boring complaints about love, the appearance of Vincent Fang can be said to be an opportunity, which is naturally an instant hit. But his popularity is not just a matter of luck. His popularity has his own reasons. Different from other poets, he did not fall into trivial love entanglements, but got rid of the shortcomings of ci creation, created his own unique style, and solemnly announced loudly to the world: "Vincent Fang's time has arrived." 1. Uniqueness of content: (1) Jay Chou's music is called China R & ampB (2), which matches Vincent Fang's words full of Chinese customs. A nation has the same geographical and economic life, the same psychological state and a unified language, which is unique to the nation and different from other nations, and can form a national style if it is reflected in literature. To some extent, Fang Gang is a clever man. He can firmly grasp the national complex of China people, combine the characteristics of Han nationality in his creation, and create Fang Fenghua's national style, which makes his works full of rich national flavor. He himself said: "I like the elements of traditional culture very much, and I will intercept some creative materials from there." First of all, it embodies the sense of national history. The war and replacement of China's ancient society, the heavy humiliation of modern times and the revival of modern times have all become the material of Fang Zhouzi's creation. In Dancing in the Spring and Autumn Period, the chaos in the Three Kingdoms period was described in a drag-and-drop style. In "Double Knives", the injured and dignified family was soaked in rain, and the Tang suit was a sigh of the East; In nunchakus, the signboard of the sick man of East Asia was destroyed by martial arts stunts; Shanghai 1943 is filled with Wu Nong's soft words and a touch of sadness; "Dragon Boxing" finally announced loudly: "I am the dragon!" From the chaotic Central Plains to the revival of the sleeping lion, the history of the Chinese nation reappears one by one. As the lyrics of "Double Knives" say, Fang Zhouzi is "re-editing history through the lens, giving people imagination." Secondly, it is manifested in the description of the environment and customs. Take "Niangzi" as an example. "Niangzi still folds a willow every day and silently waits for me at the estuary outside the village." The willow tree in the estuary outside the village has created a typical fresh and beautiful Jiangnan landscape painting in a few strokes. At the same time, "autumn scenery is full of yellow sand, there are many people in Saibei Inn, and my horse is slightly thin", which also depicts the desolation and desolation of the western frontier beyond the Great Wall. This bright north-south correspondence can only appear in the vast land of China, which is completely different from foreign Gothic churches, gloomy castles and crowded squares, and exudes the unique life breath and scenery belonging to the Chinese nation. In terms of customs, taking "Shanghai 1943" as an example, the yellowed Spring Festival couplets and the regular script "Man" are also some unique folk customs in China, which are simple but full of affection, showing China people's yearning and hope for a stable and prosperous life. Nicola Nikolai Gogol said: "The true nationality lies not in describing the sleeveless dresses of peasant women, but in having the national spirit. Even if the poet describes a foreign world, he may have a national character, as long as he observes it with his own national temperament and the eyes of the whole nation, as long as his feelings and what he says make his compatriots feel as if they are them. " The key to the existence of national spirit and national flavor lies in whether to write with "national vision". Vincent Fang's lyrics are full of strong national flavor, which is attributed to his "national eye". He likes traveling and hutongs in Beijing. He carefully observed every aspect and inch of Greater China with a free mind, and then applied his inspiration to his creation, which naturally produced unique effects. (2) the arrogant cry of personality This is an era that emphasizes the liberation of personality. Everyone is shouting: "I have my own personality." Facing the fans who are mostly teenagers, it is very important to cater to their young mentality. Therefore, in Fang Zhouzi's works, we can see the existence of individual consciousness and individualism. The so-called "personality" means only regarding the individual as a unique factor of human beings and society, emphasizing the individual's uniqueness, independence and social creativity, advocating the independent, free and conscious creative spirit with the goal of personal ability development, and expressing the pursuit of personal success, self-realization, personal dignity and rights. The individualism in Fang Zhouzi's works is also unique. What he expresses is not sharp personalization and rebellion, nor is it a difficult and painful resistance situation. In his words, the ego has not established an antagonistic relationship with the outside world, and it is not the exposed, helpless and solipsistic individual soul that cries out, but depression and anxiety. Vincent Fang's cleverness lies in that he has fully explored the mentality of today's younger generation and fully understood what they really need. Desire to be affirmed, hate being bound, and want to be yourself. This is the same mentality of the younger generation. He shouted: "I want to be myself", which is not general hysteria, but arrogance. In the song "Class Two, Grade Three", Vincent Fang expressed teenagers' desire to be affirmed and realize their self-worth through the unique image of table tennis. "How strong is the first place (no need to find someone to challenge)? How many hurdles do you have to cross (don't be afraid to tell them who is a man)? Can you not take this award (I don't want to ask, I just want to stay a little sweaty)? I will be my own referee (I don't want to say that I choose my opponent and fight). " What this song wants to tell us is that not students with good academic performance can become excellent students, but those who have special skills and insist on giving full play to their special skills can also become excellent students. The philosophy of life advocated by him is to "go your own way" and not blindly follow the secular standards. As long as you have your own clear goals in life, "just keep going" and "this life is calm". In the same tone, the expression of personality consciousness is extremely strong and arrogant. "We are in tune \ don't care about the weather forecast \ because it doesn't matter \ we want to play ball and dance in the heavy rain \ we only watch music channels \ we are eager to mark the corners of the sky \ where is the best blue \ I have a very tacit understanding \ we are in tune \ we decide what coat to wear \ we have our own bell signal \ we never compete with others \ we only drink iced drinks. The future is unpredictable \ Stick to the current choice \ I have cultivated a unique irrigation principle \ The concept is invalid \ Everything else is rubbish \ There should be no formula in life \ I can dance ballet at will \ Let go \ Calm down \ Stand on tiptoe like a swan \ Pay attention to fast food \ I can also say love naively \ Yes, in the era of paying attention to fast food, we should easily be ourselves, what to wear and what to wear. Life should not be bound, there should be no formula. Of course, the individualism advocated by Fang Zhouzi is not arbitrary. As he said in "We Are Growing", "When we were growing up, we never knew that talking about something would only make me stronger. "When we were growing up, we never knew that clapping together would make us live a better life than others." He advocates positive and healthy individualism. Stick to yourself and grow sturdily. He expressed the aspirations of young fans and his expectations for them. The uniqueness of form: (1) The use of montage is the basic expression of film art ... Montage comes from French, from composition and assembly of architecture, and it means combination and composition when borrowing film art (3). The montage mode of thinking not only has a long history, but also has a growing influence on human social life. As an artistic mode of thinking and expression skills, montage is not only a patent for movies, but also has been consciously applied to novels, plays and other literary styles, so many works have emerged that use montage thinking for reference to realize the interlacing and leap of time and space. If we call montage as a means of film artistic expression a narrow montage, then the image combination as an artistic feature of literary creation, especially poetry creation, can be called a broad montage. Vincent fang was well aware of this, and boldly used montage for reference in his lyrics creation. His lyrics are like a movie, full of jumping words. At first glance, there is no connection between them, but they are very creative and imaginative. The picture jumps and the rhythm is compact, which constructs a three-dimensional thinking space and gives people a three-dimensional shock. Surprisingly, words can also be edited in this way. Vincent Fang himself said that this is entirely because of movies: "Movies are the art of editing. For example, if you kill a person today, most people will write it directly, and I will write it with the lens of the film. The moon is dark and windy, a hostile face, a knife and a shadow leap over the wall. My lyrics are not so straightforward. It's not so natural to connect sentence by sentence, like'. The application of montage in lyrics creation not only makes it possible for lyrics to be narrated by pictures, but also breaks the boundary between time and space by editing and reorganizing pictures, expanding the capacity of expressing life in the Great Leap Forward of time and space, which has a strong artistic appeal. There are many types of montage, such as the accelerated narrative rhythm, the sequence montage caused by the omission of the intermediate process, the inverted montage caused by the inversion of natural time sequence, and the jumping montage caused by the staggered space. For example, Vincent Fang gave Kangkang's "Light bulb-me": Today is a sunny day, but you take your brother. When you see his face, it immediately becomes rainy. Like a wound being salted, my pain has nowhere to report. The date turned into a nightmare. Take him to the movies. I want to hold your little hand. He sat in the middle. He is playing a wonderful picture. He is clamouring to urinate. When I got home, I found that there was no negative in this lyric, and described several groups of pictures: the first group, dating my girlfriend, only to see my girlfriend and brother together, disheartened; The second group, in the cinema, the younger brother sat between two people, ruining the atmosphere; The third group was tricked into the toilet by the younger brother; The fourth group, taking photos in the park, came home and found no negatives. The superposition of these groups of lenses fully shows the destructive effect of the super big light bulb of girlfriend and brother. This is due to the leap brought by the substantial omission of the plot development process, the narrative rhythm of the lyrics is accelerated, and the narrative capacity is greatly increased. Another example is his "Sorry" to Jay Chou, in which he talked about the frustration and sadness of copper coins and rings, followed by his own feelings, and inserted a memory in the middle: "I miss the desks and chairs in primary school, I miss keeping a diary with a pencil, recording the most primitive beauty and recording the first time I met you." Here, the natural order of events is broken, the plot is rearranged and the lyrics jump. Because of the staggered time and space, the picture jumps, which not only avoids the monotony of straightforward narration, but also often creates a unique charm in the ingenious blend of reality, past and future. Another example is Mourning War, which combines three action lines that happened at the same time and in different spaces into one lyric: one is that "she" performs on the stage for the last time, the other is that the whole village is quietly watching from their seats, some people are clamoring for sugar, and the other is that the chariot is already heading for the village, and her hometown is about to be surrounded, creating suspense and tension in the jumping back and forth of the picture. These three action lines are twisted together and pushed forward, making the atmosphere tense gradually until people feel suffocated. As a kind of reading text, the jumping characteristics of lyrics accelerate the narrative rhythm, effectively avoid the situation of plot procrastination, static scenery and slow lyricism, and give listeners who are tired of listening to love songs a brand-new auditory experience. Moreover, due to the existence of jumping, the audience needs to combine many individual shots, which forces them to give full play to their imagination in order to give logic and coherence to those intermittent pictures. In this listening process, the listener's sense of participation and creativity are mobilized in all directions, and the previous auditory memory, even visual memory and tactile memory must be integrated in a new mode to form an inner video. In this sense, jumping is not only an important feature of Fang Zhouzi's lyrics creation, but also one of the important reasons for his unique artistic charm. (2) Rhyme Throughout July, 2004, Jay Chou's "Qilixiang" album was released, which was widely sung as an advertising song in the dynamic zone in the whole country. Jay Chou created a new sense of hearing with naughty tongue-sticking and tongue-rolling, half of which was attributed to Fang Zhouzi's creation. In this first word, the rhymes "e" and "ι" appear at regular intervals at the end of each sentence, and with the consonants, a naughty and lovely tone comes out. This is another feature of Vincent Fang's creation: he is good at creating the musical beauty of lyrics by rhyming. The language of any literary work should be rhythmic, so should literary forms such as lyrics. Lyrics is a language art, which combines vocal music language with musical tunes to form a song. Therefore, we require the lyrics to be lively, loud, catchy and musical. Lyrics require strong musicality, and rhyme is an important aspect in terms of rhythm and harmony. Proper rhyming can express the thoughts and feelings of the work more perfectly, make it harmonious and pleasant, and make it easy to remember and recite. As Lu Xun said, "a new poem must first have a stanza and a roughly similar rhyme, so that everyone can easily remember it and sing it fluently." He also said, "no rhyme, no singing, no singing, no remembering." (3) This is the truth. Put the same or similar rhyme on the last syllable of a sentence at regular intervals, thus creating a sense of rhythm in which the sound swings repeatedly, which is called rhyme or couplet. The word "frog" is the mark of the wheel, indicating what the last word of the previous sentence is, and the words behind it should be pressed up according to the mark of the word "frog" in front, so that it is harmonious. Fang Zhouzi is good at adding musical beauty to lyrics by rhyming. Almost every word he created can rhyme. What's more, he rhymes with every sentence throughout. For example, there is a cat in the alley, and the whole poem rhymes with "gentle and graceful": there is a cat in the alley, which is ambitious and wants to go out (zāo). I heard that the outside world is not delicious, and no one eats hamburgers (bǐ o). There is a cat in the alley. It ran out from her sister Tao and went to the busy street to look for bread with beef (bāo). He couldn't even eat leftovers when he was around (zháo). The dialect in my hometown is unknown, and no one wants to speak it (Liao). He can't find or see the legendary beauty (h m: o). He can't forget his sister (Liao) in the alley. In the past, all kinds of proud and sad tears flowed down (diào). In the past, all kinds of pride, other people's land is not better than their own nest (cáo), and another example is love in BC. The whole poem rhymes with "Qian Yan": The King of Babylon issued the code of hammurabi (di m I am quietly admiring your face that I deeply love (Li m \u n). There are countless examples, such as its flexible wording, effortless pronunciation and amazing ability to use words. A senior musician once commented: "In this era, it will be more lonely without Jay Chou." Without Fang Zhouzi, Jay Chou would be even more lonely. Others said, "Lin belongs to the 1970s and Fang Zhouzi belongs to the 1980s." Because reading his lyrics is like reading the cartoons that people in the 1980s are most familiar with. His creative style is to highlight "novelty" and "strangeness", which is exactly what he pursues. In this era of the world, because there is a lyricist named Vincent Fang, our ears will not be lonely. reference data