New Age Artists

Chapter 651 Metabolism
Early in the morning.

Shen Santong left Yan Danchen's house and did all the persuasion work, but it was not smooth.

immature!
I don't know how to thank!
His words were full of requests for status. Shen Santong gave the best gift to Yan Danchen, but he didn't even get a thank you.

Hey!
Shen Santong said to the assistant, "I'm charging ahead, working day and night for the film industry, and you sisters are stabbing me in the back one by one? You don't have any sense of the overall situation!"

The assistant smiled and said, “You are the boss, so what you said is right.”

Shen Santong was quite distressed. Should good people be pointed at with guns?

He had always been a clean man, and now he was even more pure.

There are currently only three types of relationships that require drastic self-restraint.

One is a long-term partnership, one is a friendly partnership, and the other is a simple (sexual) partnership.

There are only three friendly partnerships, Fan Bingbing, Yang Mi, and Yan Ni.

Fan Bingbing and Da Mi Mi have ideas, but Shen Santong has no ideas about them.

The former was too ambitious and had problems with historical cognition. Coupled with the active filter of "Encircling the Old Chinese" in his previous life, he refused to admit his mistakes. Shen Santong had no idea of ​​living a good life.

Yang Mi is very career-oriented and ambitious, but she and Tang Yan are just "best friends" and cannot enter into a long-term partnership.

Sister Ni, needless to say, doesn't want anything.

She is the most considerate and gives him money. She is the best sister.

There are only two pure partnerships, Naza and Zhang Li, one has a greedy face and the other has greedy legs.

There is nothing to be embarrassed about, Shen Santong is open and honest.

As for the seven long-term partnerships, Shen Santong, after investigation and research, combined with past and present lives, believes that those who can live together have good personalities and will not have too many hidden dangers.

The hidden dangers that can endanger Shen Santong now are mainly problems of cognition and stance.

There is no problem in this regard. Other problems are minor ones and he can basically solve them.

Shen Santong's retirement was also the result of this wave of smear campaign against him. If one digs deeper, he might as well retire.

The public and the government basically don't report his private life, and he has never had any relationship with ordinary people.

When he was promiscuous, he only dated people in the same circle, and his partners basically had a certain status.

After retiring, Shen Santong also calmed down.

The prodigal son does not exchange for gold.

Now it’s Shen Huitou’s turn!

During the Chinese New Year, I want to get together with my long-term partners.

Acknowledge the reality and look to the future.

Seven long-term partners, Li Yu, Tang Yan, Tong Liya, Yan Danchen, Gao Yuanyuan, Gao Lu, and Wang Zhi.

Among the seven, Li Yu is the easiest to deal with. She has historical issues and has no say.

The remaining six people are more difficult to deal with than the previous one.

"Why is it so difficult for me to have a happy life when everyone else is so harmonious?"

Shen Santong thought about it and felt that it had something to do with his personal style.

He is a relatively equal person, he doesn't use PUA, and he treats everyone as a human being. After all, good people are the ones who get hurt the most in this world.

After a disappointing encounter with Yan Danchen and setbacks in life, Shen Santong could only numb himself with work and continue to promote progress in the industry.

As the audience becomes more and more awakened, with a little guidance.

Of course, guidance is only an external factor, internal factors are the key.

The main reason is that there are big problems in reality and the contrast is too drastic.

In the past, the entertainment industry had no reference system, but now it does.

The difference between "1937", "1942" and "Nanjing Nanjing" is too obvious in comparison.

But "1942" and "Nanjing Nanjing" are still not the ones with the biggest problems.

1942 seems to criticize the KMT, but it still has a blue camp flavor. The chain of existential disaster-forgetfulness-new disaster implies the pessimistic logic of history repeating unconsciously.

There is also a description of the solidified power structure, and details of the corruption and incompetence of the Nationalist government and the exploitation of officials at all levels run throughout the film.

The stability of the power structure suggests that social problems are difficult to solve through local reforms and are full of individual powerlessness.

Fan Dianyuan eventually lost all his relatives and returned home alone, realizing that he was only alive for the sake of living. The victims gradually lost their humanity while fleeing, and individual efforts seemed futile in the face of institutional oppression, which strengthened the sense of fate that individuals were swept away by the torrent of history.

But "1942" is not entirely a case of historical cycles.

It does have a quasi-historical cyclical tendency and contains cyclical overtones, but its core is closer to historical critical realism than to cyclical theory in the strict sense.

It does not completely deny the possibility of change, but rather calls for reflection on power and human nature by exposing historical scars.

The problematic perspective of "1942" lies in confusing the two parties, as well as the problem of perspective.

The monologue of the old boss at the end is the most obvious: "I know how to go from being a poor man to a rich man, as long as I can survive to Shaanxi."

This implies the weak initiative of individuals, but this initiative is not the initiative of tenant farmers or self-employed farmers, but the initiative of landlords.

"1942" can be considered a national narrative, tending towards the narrative of feudal landlords and private capital.

"Nanjing Nanjing" also has its merits.

Lu Chuan subjectively knew that he should tell the story of the Chinese people, but he objectively did not have the ability to do so, and it eventually turned into finding humanity for the Japanese invaders.

The good thing is that Lu Chuan has no ability.

So it has the opposite effect. For example, some centipedes and spiders are so stupid that their low-level black appears to be high-level red.

Maybe not in terms of motivation, but objectively yes.

In terms of objective impact, the worst one is actually "The Flowers of War".

Because Zhang Yimou has abilities in traditional art films that Feng Xiaogang and Lu Chuan do not have.

Because of their strong abilities, their influence is also the worst.

Zhang Yimou's "The Flowers of War" is about individuals and humanity, focusing on marginalized groups. Through the tragic choice of prostitutes to die instead of female students, it highlights the sublimation of human kindness in extreme circumstances.

History is reduced to moral redemption.

Downplaying collective resistance and instead using individual heroism, such as John Miller's transformation and Yu Mo's sacrifice, fills the gaps in historical narrative, implying an idealistic tendency that the brilliance of human nature can transcend the darkness of history.

The prostitute group is portrayed as having a dual identity of "victim-savior".

On one hand, there are the insulted weaklings, and on the other hand, there are heroes who have moral awakening and are willing to die for their students.

The "worldly" background of Yu Mo and others forms a sharp contrast with their "chastity" sacrifice, implying the male gaze logic of achieving moral sublimation through body purification.

"The Flowers of War" uses aesthetic shots, slow motion, and light and shadow contrast to partially eliminate the cruelty of national trauma, and it is even transformed into a backdrop for dramatic conflict.

The image of the invaders is also flattened, the structural evils of militarism are not touched upon, and the atrocities serve more to sensationalize the plot than to reflect on history.

The heroic narrative, the redemption of the priest, and the sacrifice of the prostitute cater to the aesthetic tastes of the international market and downplay the particularities of history with universal human values.

The visual spectacles of the female body, such as the cheongsam, bathing shots and dramatization of violent scenes, consume historical suffering into commercial films.

Dramatic conflict and visual spectacles replace historical depth.

Ultimately, the Nanjing Massacre was simplified into a moralistic show of humanity, which weakened the criticism of the nature of the aggression and only provided a superficial historical expression.

The more capable Zhang Yimou is, the worse the impact he causes, and the more severe the deconstruction.

This is exactly the narrative template of Hollywood, which deconstructs resistance and suffering, turning them into nourishment for the capitalist narrative, and even becoming part of the other party's inclusiveness and legitimacy.

The truth will come out and no one can escape.

What Shen Santong is doing now is to make the film industry move forward in big strides and push the industry back to where it should be. He does not seek much progress, but he wants it to be close to the level of the real industry.

As for the people or companies that were crushed in this process, they were just crushed.

The rich list can be changed every five to ten years, and the industry can be changed every five to ten years. These "real tigers", those with industrial support and lines on them, can all metabolize.

Why can’t the film industry do the same?

Shen Santong really wants to touch these "tigers"!

(End of this chapter)