So, who in your circle is most prone to this problem of taking over? The "academic" works of root Zhengmiao Hong can be said to be the worst disaster area of "set of templates".
"I am the Mountain" director Zheng Dasheng is a graduate of drama, Chicago film study overseas, scriptwriter Yuan Yuan graduated from the Chinese film master, "This Trip" director Liu Jiayin graduated from Nortel, or Nortel literature teacher.
It can be said that they are not only senior "academic" representatives, but also brought out a lot of apprentices. With so many children and grandchildren, it is not difficult to imagine how many Chinese directors are making "domestic foreign films".
What's more, as a film student, almost half of the textbooks or reference books I learned in school were written by Americans. For example, scriptwriters commonly used reference books are "Script structure Design", "Basic dramatization", "Drama theory and Technique of drama and film", "Film script writing basis" and so on. The remaining half of the reference books are mostly written by teachers in this school. These books are very much like the tasks they have been assigned in recent years, the "results" of research, and the actual reference value is not very large.
Hard sugar King's scriptwriter friends revealed that many domestic scriptwriters prefer to refer to the book "Saving the Cat" in their actual creation - which is regarded by many people as a practical scriptwriter handbook, from the hands of Hollywood scriptwriter and director Blake Snyder.
In addition, outside films accounted for more than 80% of the film lists given by teachers to film students, and many films were taken by teachers for frame-by-frame analysis, which was a sample that greatly affected students.
Of course, this is not unique to China, and it is true of film students all over the world. Although the film originated in France, Americans were the first to establish a commercial distribution system in the world and develop a market-proven narrative model, such as coherent and smooth zero editing, suture narrative system and so on. These basic theories have profoundly influenced the development of the world film.
But this does not mean that classical narrative theory can be directly applied everywhere. Looking deeper, the origin of Chinese and Western drama and the culture and ideology it carries are fundamentally different. Look at the old American shot Chinese story, which can be accepted by our local audience?
The North American fire "Crazy Rich Asians", for the Chinese audience is really old-fashioned, in Jinjiang closed eyes can find a better "Cinderella" and a better "small times".
In fact, "Crazy Rich Asians" is completely to take the "American dream" heroine, and the Chinese old money traditional parents to fight, and finally the "American Dream" narrowly won, completing the century of reconciliation.
The Hollywood big screen now repeats this story over and over again, from "Youth Metamorphosis" to "The Universe in a Moment," how traditional Chinese parents step by step toward compromise and release their children to embrace the free world.
We also understand that the old US is not for us to see, but for the Chinese ABC in the US to see. But for us, this "sense of curiosity" of overseas Chinese films is often stronger than pure external films. We can empathize with a purely white American film, but it's really uncomfortable for Americans to film Chinese people. Presumably, some Chinese films made by Chinese directors based on Western templates, such as the early Chinese blockbusters "The Banquet" and "The Great Wall", are also considered as weird as hell by foreigners.
