Dialogue with Wuershan: Modern expression of traditional culture tells the story of the Chinese nation
2024-08-11
한어Русский языкEnglishFrançaisIndonesianSanskrit日本語DeutschPortuguêsΕλληνικάespañolItalianoSuomalainenLatina
Opening words
The beauty of China and the way of China. Film is one of the important carriers for the world to appreciate Chinese culture. In the booming wave of Chinese film, the excellent Chinese culture has always been the basis for Chinese filmmakers. In the inheritance and innovation of traditional Chinese culture, contemporary Chinese filmmakers continue to demonstrate the innovation and influence of Chinese culture with excellent works.
Starting today, the "Dao China" WeChat public platform has opened a column called "Light and Shadow Dao China", inviting film and television workers to engage in dialogue, focusing on the main line of forging a strong sense of community for the Chinese nation, and using light and shadow art works as an entry point to interpret the practice and experience of telling the story of the Chinese nation's community well.
In the first episode of "The Path of China by Light and Shadow", we invited Wuershan, the director of "The First Part of the Investiture of the Gods: The Storm of Chaoge" (hereinafter referred to as "The Investiture of the Gods I"), which recently won two awards at the 37th Popular Film Hundred Flowers Awards. We listened to him talk about how to deeply explore the value of Chinese traditional culture and show the beauty of Chinese culture to the world. At the same time, he responded to the concerns of the audience and disclosed the next creation and shooting plans.
First issue
Dialogue with Wuershan:
The modern expression of traditional culture tells the story of the Chinese nation
▲Wu Ershan, the director of the movie "Fengshen 1", visited the "Light and Shadow of China" studio and told his own light and shadow story
China's excellent traditional culture is the confidence of filmmakers
Dao Zhonghua: Director Wuershan, welcome to accept the interview of the "Dao Zhonghua" WeChat public platform. You recently visited the exhibition of cultural relics and ancient books on strengthening the sense of community of the Chinese nation. What creative inspirations did this exhibition bring to you?
Wuershan: For me, the process of film creation is actually a process of learning. Even after the film was released, my learning has not stopped. My visit to the exhibition of cultural relics and ancient books on strengthening the sense of community of the Chinese nation was very rewarding. If I had visited this exhibition earlier, I would have a deeper and more realistic presentation of Chinese traditional culture in my film creation.
▲Director Wuershan accepted an exclusive interview with "Dao Zhonghua"
In this exhibition, every cultural relic and every ancient book carries the wisdom and emotions of the ancestors of the Chinese nation. They are not only witnesses of history, but also guides for our present and future. This made me deeply feel the long-standing cultural heritage and diversified and integrated development of the Chinese nation.
In my opinion, the Chinese nation was formed through continuous integration in the historical process, and each ethnic group was formed through long-term mutual integration.
This visit has given me a deeper understanding of the Chinese nation and traditional Chinese culture, which will provide me with rich material and new inspiration for my film creation.
Dao Zhonghua: The Investiture of the Gods is a classic of Chinese literature. What made you choose to tell the story of the Investiture of the Gods? What kind of creative concept do you want to express through this film?
Wuershan: It is the mission of every filmmaker to turn the excellent traditional culture of the Chinese nation into contemporary cultural and entertainment products so that young people can draw strength from them. The Investiture of the Gods is set against the backdrop of the Shang and Zhou dynasties, a special period when the idea of "great unification" was conceived in China. Compared with official history, The Investiture of the Gods is more popular, more deeply rooted in the folk, and more representative of the appearance of traditional Chinese culture. It is a true "national myth". The concept of kingly way, the struggle between good and evil, and the story of spiritual growth are all groundbreaking. They can be passed down to this day because they have the value of transcending time and contain the Chinese people's self-search for the spirit of the Chinese nation.
▲Poster of the movie "Fengshen 1"
We have been working hard to tell Chinese stories with the language of movies, rekindle the excellent cultural genes of the Chinese nation, let young audiences regard national trends as beauty, and let the world see the beauty of China. After the release of "Investiture of the Gods 1", many young people went to museums to check in and look for the same "Investiture of the Gods" in cultural relics and historical sites. In this sense, Chinese traditional culture has a strong vitality.
Before the Paris Olympics, the French version of "Investiture of the Gods" began to be screened in France and Africa. Since its release on July 20, 2023, the film has been screened in more than 40 countries and regions, and will be screened in more countries and regions. As a filmmaker, as a Chinese, and as a member of the Chinese nation, it is a great pleasure to see our works go to the world and spread Chinese culture.
We are all Chinese first.We will do a good job in spreading Chinese culture
Dao Zhonghua: We noticed that while "Fengshen I" was a hit in theaters, there was some discussion online about the movie, the actors, and you personally. Can you respond to everyone's concerns through the "Dao Zhonghua" WeChat public platform?
Wuershan: First of all, I am very grateful to the netizens for paying such in-depth attention to our film creation. This is not just a general audience's comment on whether the work is good or not, but a deep concern for the film production level. This is a concern for the development of the Chinese film industry, which is a good thing. We will listen carefully and continue to improve.
Among these, there are problems with our insufficient study of history and culture, some misunderstandings and misinterpretations, and some cases of quoting out of context. Now I have this opportunity to communicate, and I can explain my views clearly.
▲Stills of actress Na Ran playing Daji
For example, regarding the actors' "kimono" clothing. A few netizens once questioned whether Daji's clothing was a Japanese "kimono". In fact, it was a "big-sleeved shirt" popular in the Tang and Song dynasties. The inspiration for Daji's red "big-sleeved shirt" came from Zhou Fang's famous painting "Ladies with Flowers in Their Hairpins" in the late Tang Dynasty. Because Japanese kimonos were also influenced by Tang Dynasty clothing, it is inevitable that some netizens have misunderstandings. But this just shows how deeply Chinese culture permeated and spread in ancient East Asia.
For example, regarding the question of the name of the nation. My complete statement in the live broadcast at that time was: Any nation is formed in the course of historical evolution. In the story of Fengshen, during the Shang and Zhou dynasties three thousand years ago, there was no contemporary concept of nation and national name. Many ancient nations were named after regions and regimes. The people of the Central Plains dynasty once called themselves Shang people, Zhou people, Qin people, Han people, Tang people, and Song people. People from different regions and tribes around, such as Xianbei and Khitan, came to the Central Plains and gradually integrated into it. After a long period of extensive exchanges and integration in various dynasties including the Yuan Dynasty, it continued to grow into the Chinese nation community. My language expression at that time may not be academically rigorous. In the continuous research after the release of the movie, especially after watching the exhibition of cultural relics and ancient books that forged a strong sense of community for the Chinese nation, I have a deeper understanding of this historical context.
For example, regarding the use of ethnic minority and foreign actors for some roles. First of all, the selection of actors in a film is not based on ethnicity or nationality. The actor must first have professional ability, be suitable for the role, be willing to give 100% effort for the role, meet the requirements of the film creation for the role, and complete the performance in the film. This is the first priority. Actors of any ethnicity participate in film creation in order to tell the story of the Chinese nation together.
▲Stills from the movie "Fengshen 1"
Speaking of this, I would also like to take this opportunity to introduce our team. The crew members of "Fengshen Trilogy" come from 10 ethnic groups in my country, but in my eyes, including myself, our identity is first of all the Chinese nation. The domestic and foreign cooperation teams come from 21 countries. The composition of this team is formed naturally due to the needs of their respective jobs. They can come together because of the attraction of Chinese culture. No matter where the team members come from, we will do a good job in spreading Chinese culture. Under the joint efforts of this diverse team, the work experience and innovative achievements produced belong to the Chinese film industry; the final work created by this team is a completely Chinese film, and it is a Chinese film that can go global.
The discussion among netizens also reminds us how to better spread the excellent traditional Chinese culture through film works, so that contemporary young audiences can have a deeper understanding of our own traditional culture. In this regard, media platforms can also do more cultural dissemination and knowledge popularization. I noticed that the WeChat public platform "Dao Zhonghua" has done a lot of content in this regard, with both academic interpretation and popular expression, which is commendable.
Dao Zhonghua: We also noticed that the words and deeds of some members of your filming team have caused criticism from netizens. Can you share your thoughts on this?
Wuershan: With the release of the film, our new actors are gradually becoming well-known. New actor Naran is of Russian nationality. After joining the crew, she worked hard to learn Chinese, Chinese etiquette, and Chinese dance, presenting a lively and vivid Daji to the audience. However, due to her lack of understanding of Chinese history and culture, she forwarded an inappropriate post on overseas social media six years ago, which aroused criticism from netizens, and she herself also had deep reflections. Many foreigners love Chinese culture very much, and there is also a process of gradually recognizing and understanding Chinese history and culture. A few days ago, after "Fengshen I" won the Hundred Flowers Award, Naran shared her process of going from unfamiliar to familiar, and then to understanding and loving Chinese culture on Weibo. For newcomers, especially foreign actors, if they can be given a process of learning, understanding, and recognizing Chinese culture and Chinese history, I believe that more people will be willing to spread Chinese culture.
▲Screenshot of actress Na Ran’s recent Weibo
With these lessons learned and self-reflection, my team members and I will pay more attention to our words and deeds, and strive to let everyone feel the splendor and beauty of Chinese history and culture from our works, and feel our value pursuit from our work and actions. For some criticisms and doubts on the Internet, we will correct them if we have them, and encourage them if we don’t. We will further strengthen team management and strengthen the study of Chinese history and culture. We welcome netizens to continue to supervise and correct us.
Dao Zhonghua: Some people on the Internet pointed out that the remarks made by a member of your team also touched upon sensitive topics such as ethnic hierarchy. What's going on?
Wuershan: I must clarify this matter. Last year, someone claimed to be a member of our team and made inappropriate remarks about ethnic issues. I solemnly declare that this person only recommended two extras to our crew five years ago, and other than that, we have no other contact. He is not a member of our team.
I never agree with any remarks that hurt national feelings. The 56 ethnic groups are all members of the big family of the Chinese nation and are all one family.
Dao Zhonghua: Thank you for responding to the concerns of viewers and netizens here and making a clear statement.
Carrying forward China's excellent traditional culture focuses on "integration" and "casting"
Dao Zhonghua: Let's go back to the filmmaking itself. Just like your team comes from various ethnic groups, Chinese civilization is a whole that is a fusion of different cultures such as grasslands, farming, and oceans. How does your film reflect the diversity and unity of Chinese history and culture, and thus create art?
Wuershan: Actually, there are two key words: "integration" and "casting". Integrate diversity and cast a solid unity. Cultural symbols carry the collective memory and values of a nation. Visual cultural symbols are the most obvious and direct form of presentation. I have devoted myself to the field of visual arts and have been paying attention to how to present and express traditional culture in a more perfect and accurate way through visual symbols.
▲Stills from the movie "Fengshen 1"
The "Investiture of the Gods Trilogy" has completed such a work of integrating multiple visual cultural symbols into one. The Yin and Shang Dynasty was an era of moving from multiple tribes to unity, an era in which people from various regions with different livelihood forms and survival modes were gathered and integrated into a unified country from a spatial perspective. The novel "Investiture of the Gods" itself also did a work of integration and convergence in the middle and late Ming Dynasty, that is, it integrated folk legends and folk culture from various sources from different eras into a complete system. Our film has focused on the collection of multiple cultural symbols since the beginning of the field research work, and visited more than a dozen provinces, municipalities and autonomous regions across the country. The concept and art design of the film are based on this foundation, continuing to further deepen and beautify these cultural symbols from different time and space and in various forms, and integrate them together to create a complete and unified film work in aesthetics.
Dao Zhonghua: Your films contain both traditional Chinese values and traditional Chinese cultural elements, such as bronze patterns, intangible cultural heritage crafts and Chinese classical aesthetics. How do you resonate with contemporary audiences while promoting tradition?
Wuershan: The aesthetics of traditional culture has never been outdated. They are beautiful in themselves, and people of every era find them beautiful, which is why they have been passed down for thousands of years. Chinese traditional culture has not been fully explored and displayed before, not because they do not conform to modern aesthetics, but because the beauty of tradition has not yet found an appropriate channel to be fully displayed. If you look at the popularity of cultural and creative products in major museums across the country in recent years, it is a good example that our audiences are "discerning goods". As long as those beautiful traditions are presented accurately and artistically, they will be welcomed.
▲Costumes and props from the movie "Fengshen 1"
At a certain stage, we all have the desire to trace, refine and re-express our national culture and national spirit. In my opinion, myths are stories about the human soul. In the end, we have to return to people, talk about people's growth, people's destiny, and people's choice between good and evil. It is necessary not only to resonate with young audiences, but also to make such a Chinese story accepted by the whole world. "Fengshen I" tells an ancient story to modern audiences. The film itself plays a role as a medium for the intersection of ancient and modern times. In traditional Chinese values, there is deep affection and loyalty to "home" and "country", and cherishing family and friendship. Only after individuals have established a sense of right and wrong based on these correct concepts and emotions can they make the right choice in the opposition between good and evil.
Dao Zhonghua: In the presentation of traditional culture, what kind of inheritance and innovation will you have in the future? Will there be new historical figures in your film? Can you tell us about your next filming plan?
Wuershan: The Chinese film market has developed to a new stage, and more genre films need to be filled. I hope to try as many new genre films as possible within a limited time. If there is an opportunity, I would like to bring more stories of Chinese heroes to the big screen. Next, we will speed up the progress of the work so that the last two parts of the "Fengshen Trilogy" can meet the audience as soon as possible.
Dao Zhonghua: In your opinion, what else can Chinese films do to tell the story of the Chinese nation?
Wuershan: Chinese culture carries the wisdom and tradition of the Chinese nation for thousands of years. It has a profound historical background and unique charm. It has deeply rooted in the hearts of the people with its profound spiritual connotation and appeal, and has resonated with different cultures. To reproduce the excellent traditional Chinese culture, the medium of film is really too important, and it will become more and more important in the future. To inherit, you must first understand, and to understand, you need to focus and feel. Big-screen movies have a natural and unique power to unite people's hearts, which can attract the attention of individuals and unite the empathy of the group. I especially cherish this power, and I also have the responsibility to strengthen my own learning, and better use this power to show the charm of traditional culture and create high-quality works.
▲Director Wuershan accepted an exclusive interview with "Dao Zhonghua"
I would like to thank the "Dao Zhonghua" WeChat public platform for giving me this opportunity to systematically tell the story between me and movies, me and traditional culture, and me and the Chinese nation.
Dao Zhonghua: Thank you for accepting our interview. Let us tell the story of the Chinese nation together, and talk about the beauty of China and the way of beautifying China.
(Photography and interview for this article: Huang Zhe and Hu Xiaodie)
Planning | Yan Yong
Producer | Xiao Jingfang and Wang Xiangyu
Co-ordination: Wang Yanlong and Liang Li
Editor: Xu Lingyu
Produced by Guo Xinxin
