Entertainment Era: My Good Sister Is All Over the World

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The Fourth National Congress of Literary and Art Circles is quite important in the literary and art circles. The meeting will last for more than half a month, and its main purpose is to continue to loosen restrictions on literary and artistic creation.

Of course, the meeting had little to do with Huang Wenbin, a college student who was almost twenty years old.

Even though he had already made an appearance before the elders, his qualifications were too low to warrant a meeting of this level.

Only those like Wang Yang, the director of Beijing Film Studio, renowned directors Xie Tieli and Chen Huaikai, and the other directors who watched the sample films with him at the Great Hall of the People a few days ago, were qualified to attend the meeting.

Some filmmakers from Hong Kong Island also came to attend the meeting.

Two days before the meeting began, director Chen Huaikai also conducted a cleaning operation for the film crew.

Because the allegations against the film were rather suspicious, the script for "Let the Bullets Fly" was not published, and only members of the production team knew about the scenes that were filmed.

Xiang Jiexin was able to accurately recite the script's contents and even know the filming details, so it goes without saying that there must be spies he had planted in the production team.

The eyeliner was quickly spotted.

She is an assistant photographer.

This person is from the same hometown as Xiang Jiexin.

He was promoted by Xiang Jiexin, so he kept tipping off people with the surname Xiang.

Chen Huaikai handed the man over to Director Wang for handling.

Wang Yang didn't hold back and immediately suspended the person, citing the reason as instigating discord among colleagues and disrupting work order.

At Huang Wenbin's suggestion, Chen Huaikai helped Zhang Yimou get promoted and made him an assistant photographer.

While Chen Huaikai was attending a meeting, he and the photographer worked together to refine part of the script for post-production.

Zhang Yimou almost wanted to kowtow to Huang Wenbin. After thanking Huang Wenbin profusely, he happily followed the photographer to get busy drawing storyboards.

Zhang Lai wasn't so lucky, but Huang Wenbin still gave him a job.

That is to ask him to adapt his novel "Blood Romance" into a TV series script.

The original story of "Blood Romance" spanned from the 60s to the late 90s, a full thirty years.

It is now 1979. Huang Wenbin made a drastic revision to the original text. The beginning of the story remains the same, but the story ends after the counterattack in 1979.

With this modification, the story does indeed lose some depth.

However, Huang Wenbin also made some additions, namely, using parts of the plot from "Garland Under the Mountain" to elevate the ideological and artistic conception of the later part of the book.

However, there are currently no true television series in China, and Zhang Lai had no idea how to adapt the script into a TV series.

Huang Wenbin had no choice but to write out the outline of "Garland Under the Mountain" in advance and then hand it over to Zhang Lai, asking him to adapt it into a movie script based on the ending of "Blood Romance".

Zhang Lai was overjoyed; finally, he had work to do again.

He could also tell that this book was destined to be a hit!

As for Huang Wenbin himself, he took advantage of this time to write some literary works that could bring him fame.

Before royalties are implemented, writing novels is far from a way to make a fortune.

However, writing novels can improve one's social status, allow entry into writers' associations, and thus gain a certain degree of influence.

He urgently needs to elevate his status in the literary world, otherwise he will always be relegated to a subservient position wherever he goes.

Therefore, he plans to pursue multiple avenues, writing both popular novels that ordinary people enjoy reading and serious literature that can gain recognition within the industry.

It's a pity that the earliest of China's four major literary awards, the Mao Dun Literature Prize, was not established until two years later; otherwise, he would definitely have tried to win one.

Fortunately, he is now taking precautions.

Huang Wenbin got involved in filmmaking because he wanted to make some good films to participate in international film festivals and win awards. In this way, he could gain both fame and reputation. If the films were sold, he could also earn some foreign exchange for the country. Why not?

As for publishing his novels abroad, he currently has no suitable channels and can only start by making arrangements in Hong Kong.

There's still more than half a year to give those film scripts to those factories, so there's no need to rush.

Now we have Zhang Yimou and Zhang Lai as assistants. We can write the outline of the movie script, let them write it, and then I can polish and revise it.

That morning, Huang Wenbin took a special bath and brewed a cup of tea, the tea leaves being extremely precious... broken tea leaves.

He has already made plans to write two short stories and one novella during this period.

The two short stories are Yu Hua's "Going Out into the World at Eighteen" and "The Game of Heaven".

As for the novella, I haven't thought of one to write yet, so I'll put it aside for now and write it later.

Huang Wenbin spread out the manuscript paper, picked up his pen, and began to write, starting with "Leaving Home at Eighteen".

He didn't want to simply copy the articles; he wanted to bring innovation and change to the literary world.

For example, he wants to introduce magical realism from Latin American literature to the domestic literary scene ahead of schedule.

The term "magical realism" first appeared in Europe in the 1920s.

After it spread to Latin America, the first magical realism novel appeared in 1928 when Venezuelan writer Uslar Petri published the short story "Rain".

After more than 20 years of development, the genre finally reached its creative peak in the 1950s, reaching its zenith in 1967 when Gabriel García Márquez's masterpiece, One Hundred Years of Solitude, was published.

my country began translating and introducing Latin American literature extensively in 1978.

He began translating Márquez's novels in 1979, and it wasn't until the translation and publication of "One Hundred Years of Solitude" in 1983 that it triggered a huge response in the domestic literary circles.

Huang Wenbin is now aiming to create China's first magical realism novel.

He plans to combine Yu Hua's "Going Out into the World at Eighteen" and "Plum Blossom in Blood".

In "Going Out at Eighteen," the protagonist, "I," embarks on a journey at the age of eighteen with the encouragement of my gentle father. I encounter a series of people and events, and ultimately find myself.

"Blood Plum Blossom" is Yu Hua's only wuxia novel, though it's merely a wuxia story. It tells the tale of Ruan Haikuo, whose father is brutally murdered. His mother forces him to learn martial arts, and at eighteen, she compels him to seek revenge. Along the way, he encounters his father's old friends, enemies, and his father's killer. Ultimately, his father's killer is murdered, and Ruan Haikuo achieves nothing, his heart forever in turmoil.

Huang Wenbin wanted to break these two novels apart and then put them back together.

To make the novel more deceptive, he erased Ruan Haikuo's name, as well as the names of his mother and even his enemies, replacing them all with pseudonyms and obfuscation.

The stories have also been rearranged to allow for comparison and create a powerful intellectual impact:

The first "I" is a modern person who has always been well protected. Just after turning eighteen, his gentle father let him go out and see the world.

Meanwhile, in another martial arts world, "I" have been practicing martial arts since childhood and have just turned eighteen. However, under the pressure of my manic-depressive mother, I am forced to go out and avenge my father.

I met a driver, I met mountain people, I also met robbers, and I met a chivalrous knight...

One me, relaxed and carefree, seemingly unrestrained, spreading the beauty of the world;

The other me, however, was filled with bitterness and resentment, bewildered and helpless, completely clueless, and drifting along with the tide.

Both of my selves are on a journey of searching. The modern me actually has no direction, but is free and unrestrained, and eventually realizes what it means to be myself.

In the world of martial arts, I wielded a famous sword that once shocked the world. My initial goal was revenge, but in the end, I accomplished nothing and lost myself.

In the end, both of me lay on the riverbank, reminiscing about that afternoon when I left home. One was sunny and clear, the other was snowy and windy. But the gentle father and the irritable mother gradually overlapped and became the same person.

What Huang Wenbin wanted to express was completely unrelated to Yu Hua's original meaning, but the power of the text was much greater.

He was so engrossed in writing that he even forgot to eat lunch.

By the time he finished the novel, it was already dusk.

He felt like his hands were about to be ruined.

"What you wrote is too... psychedelic? Dreamlike? But at its core it's realistic."

The speaker was Liang Xiaosheng.

Then, another sigh came from outside. "It's a good novel; you really are a genius. But what genre is this?"

Huang Wenbin looked up and found that several people had appeared at the door again.

If closing the door didn't make the room too dark, he would really like to close the door when he writes in the future!

"This is magical realism!"

Huang Wenbin answered.