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Beijing News (Reporter Zhou Huixiaowan) Recently, an expert seminar on the film "Departure" was held in Beijing. Jin Yibin, Secretary of the Party Committee and Professor of the China Academy of Art, Deng Guanghui, Secretary of the Party Group of the China Film Association, Vice Chairman of the China Film Association, and Director of the General Office of the China Federation of Literary and Art Circles, and leaders of Hunan Radio and Television Group and other organizing units and film producers attended the event. Liu Zhihai, director of the film "Departure" and executive vice president of the Film Academy of the China Academy of Art, and Xu Xiaoming, producer and dean of the Film Academy of the China Academy of Art, introduced the creation story and experience as the main creative representatives. The film "Departure" has become a unique heroic growth story in theater movies with its profound historical themes, unique artistic style and superb production level. In the film, historical figures with the halo of great men are restored to the image of flesh-and-blood young people by the creators. It is reported that the film is currently in theaters.

An expert seminar on the film "Departure" was held in Beijing.

The background of the movie "Departure" is the eve of the October Revolution in Russia in 1917. The world was at war and Chinese warlords were fighting each other. Mao Zedong, a student who was about to graduate from a normal school, took his senior Xiao Zisheng on foot for thousands of miles and roamed among the people, seeing the world and the people's livelihood, and exploring the truth of the world and the meaning of life through personal experience. These experiences have deeply influenced their thoughts and future life paths. At the seminar, many experts and scholars spoke and exchanged ideas, discussing the film from multiple aspects such as creative techniques, narrative methods, character creation, artistic expression, and image style. They fully affirmed the achievements and experience of the film in the creation of main theme themes, and affirmed the film's exploration of genre and theme innovation.

At the meeting, Zhang Hong, member of the National Committee of the Chinese People's Political Consultative Conference, former member of the Party Leadership Group and Secretary of the Secretariat of the China Federation of Literary and Art Circles, and former Secretary of the Party Leadership Group and Standing Vice Chairman of the China Film Association, talked about his experience of the film based on three groups of keywords. He said, "The film depicts the survival dilemma of the Chinese people under the oppression of imperialism, feudalism and bureaucratic capitalism in 1917, and shows the difficult life of the people in the old society. The women on the boat with their children to seek refuge with their husbands who were soldiers, the temples where many villagers gathered and told their sufferings, and the people who needed passports to escape famine, all reveal the tragic reality of the society at that time. The gray tone of the film deeply denounces the oppression of the old society. The film explores the influence of the magazine hosted by Chen Duxiu in 1916 on the young Mao Zedong, and raises the century-old question of where China is going. Through Mao Zedong's observations and actions, it shows his thoughts on the conflict between the old and the new and the future of the country. It uses extremely realistic film language to create a lovely and credible image of the young Mao Zedong, leaving a profound educational and practical significance for contemporary youth. Finally, the film shows the process of Mao Zedong's self-cultivation through reading and practice during his journey, emphasizing his pursuit of self-cultivation and social cognition. Through plots such as rescuing women in distress and facing gunfire and rain of bullets, the romantic method is used to show a group of sculpture-like working people, which is a profound expression that fits the theme of the times. The film is unique in artistic style and uses romantic methods to show historical scenes."

Yin Hong, vice chairman of the China Film Association, vice chairman of the China Literary and Art Critics Association, and professor at Tsinghua University, has extracted three main lines for the film. He believes that the subject matter of the film is innovative, and it is a rare and unique perspective to show Mao Zedong's growth process from the perspective of the young Mao Zedong. Although the original materials are limited, by collecting the letters of Mao Zedong and Xiao Zisheng, combined with the background of the times and historical facts at that time, it has achieved a re-creation based on history on the basis of respecting history. Secondly, the theme is in line with contemporary society. Chairman Mao's spiritual and physical training is shown through specific events such as sleeping in a water tank at night, making a fire in the wild, and crossing the river to save people. At the same time, through what he saw and heard along the way, the young Mao Zedong also broadened his understanding of the current situation of society and even China as a whole. The film shows Mao Zedong's thinking on deep-seated issues such as where China is going, how China can stand firm in this world, and how civilization should continue, and explores his process of finding a way to save the country and the people. These three main lines are intertwined, resonating with contemporary society, and inspiring young people to explore the world and perceive society.

Zhong Chengxiang, a literary theorist, member of the Central Academy of Literature and History, former vice chairman and secretary of the Secretariat of the China Federation of Literary and Art Circles, believes that the important contribution of this film is to give full play to the creative advantages and resources of Hunan Xiaoxiang Film Studio and China Academy of Art. Through the strong combination, it successfully realized the unique presentation of Mao Zedong's study tour theme. The film has injected new vitality and value into Chinese films with its unique aesthetic style and profound thoughts. Qin Zhengui, director of the Film Script Planning and Planning Center of the Central Propaganda Department, mentioned that the shots and actors in the film are refreshing and leave a vivid impression on the audience. Through the narrative, the film resonates with history and reality, especially for young people. The enlightenment is far-reaching. The film unfolds in the form of a poetic film. Through the aesthetic concept and careful design of the entire team, it presents a very Chinese aesthetic and style, making the film more artistic and thoughtful. In the process of dedramatization, the film shows Chinese aesthetics and Chinese poetic film form, which is a very important new attempt and worthy of promotion in the film industry.

Editor: Tian Sini

Proofread by Zhang Yanjun