Overview of movies

1, title/English title: looking for a gun/missing gun

2. Drama: Lu Chuan Lu Chuan

3. Director: Lu Chuan, Lu Chuan

4. Product: Huayi Brothers Taihe Film and Television Company /2002/ 120min/color

5. Awards:

200 1 The script Looking for a Gun won the Taiwan Province 200 1 Excellent Script Award.

In February 2002, Lu Chuan was invited to attend the Berlin Film Festival as a guest.

In April, 2002, in the 9th College Student Film Festival, "Looking for a Gun" was released as the first participating film.

Lu Chuan's Looking for a Gun won the first film award for best director.

In May 2002, Looking for Guns was invited to attend the 55th Cannes Film Festival.

2002 Venice Film Festival "Upstream" Unit

From June 5438 to February 2002, Looking for a Gun was selected as the "World Theater" unit of Sundance International Film Festival.

2002 New Weekly China's Best Film of the Year.

In 2002, Satellite TV Weekly selected the top ten films in the world and the best director of the year.

Top Ten Domestic Films of Shanghai Film Critics Association in 2002

In April 2003, the third Chinese film media award, "Looking for a Gun" won the best debut award in the Mainland.

Best film award; Jiang Wen won the Best Actor Award in the Mainland for this film.

In June, 2003, "Looking for a Gun" was selected as the "World Panoramic Film" unit of Moscow International Film Festival.

In June 2003, "Looking for a Gun" won the Golden Sword Award of the National Legal Film and Television Festival (Drama).

the second prize

abstract

The story tells that Mashan, an ordinary policeman in a border town, found his gun lost the day after attending his sister's wedding banquet. Because three bullets in it can kill people at any time, he began to wander around the town, skeptical of everyone around him. The appearance and shooting of former lover Annabel Lee complicated the case and put Mashan in prison. Mashan in the prison is calm and enlightened. After he got out of prison, the case became clear. However, it seems that there is only one way to prevent more tragedies, and that is to let the last two bullets enter his body.

main body

The dull life is broken by sudden events, and we try to make up for it, and we can only be led to a vague future by life. You desperately want to get back what you lost, but in the end it just leads to a more tortuous fork in the road. In fact, many people have lost their guns in their lives. Some people look for it, some people don't, and Mashan looks for it.

One afternoon in winter, the sun shone through the glass and I was sleepy. So I followed my heart and opened Looking for a Gun, which had been in my computer for a long time. I have to read it sooner or later when I write my final paper. I might as well hit the sun another day. In the next 120 minutes, I don't know how many people call it one of the most influential Chinese films, or remove one, and constantly show me its new theme, new perspective, new structure, new ideas and unprecedented "newness", not only in terms of production and distribution, but also in terms of images, characters, narrative and other aspects of the overall impression of the film.

First, the narrative structure of Hunting with Guns.

Looking for a Gun is a standard stylized linear structure, from Mashan's discovery that he lost his gun, to his imprisonment due to the shooting of his ex-lover, to his death and liberation after his release from prison. The film combines suspense films, thrillers, gangster films, feature films, psychological horror films and many other performance elements. The slightly thrilling plot suspense and the humorous dialogue in Guizhou dialect make the content and form of the film have great emotional tension, and the audience laughs while waiting for the accident, even willing to accept the horror. The most striking feature of the film's narrative is that the director skillfully uses narrative techniques to change the narrative focus, from Mashan to his wife Han Xiao Yun and son Ma Dong, until many people in the town. They all analyze the mentality of each character from different angles. Entering the world of Looking for a Gun, we find that we are entering not only the plot of the story, but also the different psychological levels of each character. With their thoughts, we dance with the characters on the nerve line, which is what we call being there. This unconscious will overlap because the director skillfully and skillfully changed the narrative focus. At the same time, in narrative time, time reversal, pre-narrative and interpolation are widely used. On the one hand, it adds appreciation to the seemingly unremarkable linear narrative structure, on the other hand, it makes the story foggy, and the tone and atmosphere of anxiety, uneasiness and doubt fill the whole work, which brings a beautiful value experience to the receiving group and makes the plot more attractive. I remember Wong Kar-wai once said in an interview program, "A good director should have these two skills, one is to love food and the other is to tell stories."

Second, the theme of gun hunting.

About judgment. There are many things in life that we need to judge. Judgment in rational life must be based on correct knowledge and reasonable logic, and must be generally accepted and tested by practice. Life knowledge and pure rational knowledge are essentially the same, but they are easily disturbed by other factors such as emotions. Correct judgment will make the road ahead clearer and clearer, wrong choice will make everything helpless, and your name will be added when necessary. We know very well that for a drunk person, that lost memory can only be filled by everyone's sweet words. In other words, it's a memory that someone told you. Mashan searched for possible clues and pieced together lost memories according to the wedding list. He was drunk, and Corey Zhou's car was driving beside an old tree, but there was an Annabel Lee who was not on the list. Everything is so confusing that everyone can doubt it. At this time, Mashan's judgment was also a big or small deviation. My former lover passed away, and the misunderstanding with my wife grew bigger and bigger. Everything, including the missing pistol.

About love. This is a clear theme in the film, which is divided into first love and family. Whether Annabel Lee is Mashan's first love or not, we don't know. But from the film, we can see Mashan's heartfelt feelings for Annabel Lee. "When you don't like her, she wants you to like her, and if you like her, she leaves with someone else." I think these lines will make people who have had the same experience see the scene here, either with a indifferent smile or with a pain in their hearts, and he (she) once emerged so vividly. For the first love, we always have an unforgettable feeling and the simplest memory. Mashan and his wife, they occasionally mend, and occasionally love each other very much, which is what moved me. This is an ordinary family, an ordinary family background, an ordinary family business and an ordinary life. This is definitely a happy family. My father is a policeman, my mother is a primary school teacher and my son is a student in my mother's class. The three of us live in harmony. Seeing his wife doing housework hard, the husband will say, "I know, I may not be a good husband or a good father …"; When there is a misunderstanding between two people, the husband will say "believe it or not, I have never done anything wrong to you"; When Mashan realized his bad luck and came to his wife's school to say goodbye, her husband would say, "This is for his son and this is for his wife, um, on a business trip." See here, only heartache. With simple words and few expressions, I read Mashan's persistence in love, as well as her strong sense of responsibility and broad mind as a husband and father.

About finding. From the beginning to the end of the film, we all went crazy looking for guns with Mashan. Finally, I found out that in real life, Malik Sang, I woke up and suddenly found that my gun was lost. Just as Ang Lee said that everyone has a Brokeback Mountain in his heart, in fact, everyone has a "gun", and the loss of the "gun" is a spiritual deficiency. "Gun" here actually symbolizes people's lost and ideal spiritual belief. Lose the gun-looking for the gun is just a form. The film doesn't care where the gun is, but focuses on Mashan. As a policeman, after losing his gun, his spirit is weightless, biased, persistent and calm until the final choice of life and death, family, dignity and morality. The process of looking for a gun is actually a person looking for the pillar and meaning of life. At this time, people are looking for it. Searching is a process that makes people grow old and mature. The process of finding the "gun" is so hesitant, because you don't know where to throw it or where to find it. Sometimes you don't even know what a gun is, just like you suddenly realize that you don't know yourself at all. In the process of looking for a gun, you can find cracks in your life, just like the contradiction between Ma San and his wife and son.

Third, the music of the shotgun.

The music in the film is as refreshing as the whole film. In today's streamlined film and television soundtrack, the young and passionate "Ling Fei" band has brought us a real, appropriate, delicate and serious touch, which is commendable.

The whole movie is based on Mashan's subjective perspective, so the music is also driven by Mashan's psychological feelings. In different stages of Mashan psychology, music has its own characteristics. The chaotic rhythm of gun loss was discovered for the first time, and the music that tends to be gentle and delicate but still tense after the gun loss incident was exposed. Finally, the smooth and brisk music after the liberation of Mashan.

Another major feature of the film is the distinctive musical sound and the sudden sharp flute sound. This sound is very special. Although it comes from musical instruments, it is difficult to classify it into the category of music without melody and rhythm, which is closer to the function of sound in effect. Most of them appeared in the early days when Mashan lost his gun. At that time, he was always in a state of high tension, and any situation would greatly stimulate his slender nerves.

Fourth, looking for gun montage

Here, the focus is on finding a challenge montage used in a gun. This structural method can connect the preceding with the following in the feature film, echoing up and down, and the rhythm is bright, just like the challenge in Beijing opera. This is the visualization of thinking, which embodies a major feature of looking for guns based on visual logic. The director replaced the traditional space-time structure of linear continuous advancement with flashback, stagnation and jumping, and a large space-time span appeared. For example, when it comes to weddings, many people come to Ramashan, and Mashan is already drunk. Speaking of the old tree essence, a group of flashbacks appeared to illustrate the relationship between Mashan and the old tree essence, and the battlefield space filled with smoke also reflected the parody of Forrest Gump; When we turned to the real time and space, Mashan had talked to him in the garage of Uncle Jing, but in a short sentence, the picture returned to flashback time and space, and Uncle Jing saved Mashan's life on the battlefield. From the courtyard of Chen Jun Hotel to the garage of Laoshujing, from the battlefield of bullets to the real time and space, the creator uses very simple shots and clips to explain the relationship between characters neatly, which reflects the director's profound narrative skills.

Fifth, modernity after gun hunting.

Speaking of post-modernism, we have to involve the complex and all-encompassing concept of post-modernism. The reason why it is difficult to define is that this concept is not a diachronic concept with relatively definite extension according to the traditional historical staging method, but is put forward based on the grasp of the changeable nature of modern society, which itself contains contradictions and conflicts. That is, collage after deconstruction opposes centrality, wholeness and systematicness, does not seek profundity, but tries to flatten as much as possible, which betrays modernism's pursuit of transcendence, eternity and depth, and makes itself gain a temporary empty signifier in the fragmented semantic game. Post-modern movies, that is, looking for pleasure in the lost time, integrating new ideas with old influences, have become an indispensable creative source of movies in the post-modern cultural context.

Therefore, the film Looking for a Gun has been well received by people inside and outside the industry, which is inseparable from its simple and lively narrative style, fresh and clear lens language and the integration of various features, but especially the attention to postmodern elements from beginning to end makes this film show its unique charm and give people a refreshing "amazing" feeling.

This is reflected in Looking for a Gun. The dialogues of some characters often have no practical significance, but the way of speaking is very particular. For example, Chen Jun and old Shu Jing are vying for advice, Ma Juan is crying about Mashan's sorry, the public security bureau chief severely criticizes Mashan, Mashan follows the director's reasoning to explain the danger of losing guns to Chen Jun, and the dialogue with Mashan after the thief is arrested. These all have a common feature, that is, they are self-righteous and eloquent. Dialogue has both musicality and sense of humor, thus excavating the artistic charm of "nonsense". This ingenious "nonsense" design separates the signified of speech and makes it an empty signifier.

Six, Jiang Wen looking for a gun.

Jiang Wen is here because he played an important role in this film. Looking for a Gun often reminds me of the movie Let's Talk It Over many years ago, with the same denial and stubborn temper. On the one hand, Zhao Xiaoshuai started to shout "Anhong I miss you" downstairs. On the other hand, Mashan went door-to-door to ask all the people involved, and vowed not to give up. The play was not so much directed by Lu Chuan as the usurpation of the throne by Jiang Wen. The style of the whole piece, like ginger. The shaking lens, the sarcastic dialogue and the expression of Mashan are not far from "The Devil Comes". Jiang Wen is a person who is good at expressing and releasing ideas. He will influence or control the director. Therefore, in the matter of looking for a gun, we may not find Lu Chuan, but only Jiang Wen.

reference data

1 /view/245885.htm#5

2 Lu Chuan, Our Film Form, Looking for a Gun, Modern Publishing House, 2002.

3 Li Xianjie's Film Rhetoric: Mirror Image and Discourse 2005 Culture and Art Publishing House

4 Dian Tai "Movie Know the Answer" 2006 Beijing University of Posts and Telecommunications Press

5 /view/245885.htm#5

6/ Review/106 124 1/

7/review/ 1 124 129/

For reference only, please learn by yourself.

I hope it helps you.