CEE started with Nortel lecturers

Chapter 95 Why Are You Wearing Zixia's Clothes?
There are still two days before the official launch, and other actors behind the scenes began to join the group one after another. Taking advantage of the spare time, Gu Zhongyu wanted to take a stroll in Chang'an first.

Although it is not the first time to come to Sanqin Dadi, the last time I came to play was in junior high school, so Gu Zhongyu wanted to visit the old place again.

As soon as they talked about going on a trip, everyone got excited. Originally, several men wanted to go together, but now actresses like Wan Qian, Na Zha, and Li Yuan also wanted to go together. After all, these days training during the day and reading scripts at night is really depressing.

So in the end, I had to find a bus to carry this bunch of people.

The girls wanted to see the Terracotta Army and Huaqing Pool first, but the boys decided after discussion that the first stop was to go to the holy land of filmmakers - Chang'an Film Studio.

Chang'an Film Studio is a monumental existence in the mainland film industry. In the early 80s, it already had Zhang Yimou, Chen Kaige, Gu Changwei, Tian Zhuangzhuang, Wu Ziniu, Li Shaohong, Jiang Wen, Lu Qin, Jia Zhangke, Ning Hao and a large number of so-called fifth-generation Chinese film directors, bringing the film studio to its heyday.

After the sudden emergence of Chang’an Film Studio, the performance is very eye-catching, especially the "Yellow Earth", "Life", "Old Well", "Wild Mountain", "Red Sorghum" and "Qiu Ju's Lawsuit" filmed after the opening of the Tian Dynasty, which have aroused strong repercussions in the society. The number of international awards won and the export volume of films rank first in the country!
The movie "Farewell My Concubine", which made Chen Kaige eat a lifetime of bonuses, was also co-produced by Chang'an Film Studio and Hong Kong.

Unfortunately, as the old factory director Wu Tianming went to the United States to give lectures, the upsurge of "the fifth generation of righteousness" dissipated, and Chang'an Film Factory finally began to decline in the 90s.

"Come here, everyone, look, this is the studio. I thought I had filmed here before, but it's a pity that I didn't have the chance to join Chang'an Film Studio." Yin Zhusheng is a native of Chang'an, so he naturally acted as a tour guide.

Arriving at the film studio is like returning to the 80s and [-]s. The Soviet-style houses built with red bricks, rows of big sycamore trees, and advertisements on the walls, etc., have a strong atmosphere of the times.

"Hey! It's a pity that we didn't catch up with the good time of our domestic movies!" Zhou Yiwei looked at the piles of stills in the memorial corridor and lamented his untimely birth.

"Who is this? The one standing in the middle?" Zhu Yilong saw stills from the filming of "Red Sorghum". One of them was a shirtless photo of Lao Mouzi and Jiang Wen. Gong Li was on the far left, and there was another person standing, but he couldn't recognize who it was.

It was Gu Zhongyu who answered him: "That's Mo Yan, the original author of "Red Sorghum", a very famous writer."

"It seems that Mr. Gu also likes to read scar literature!" Han Tongsheng recognized Gu Zhongyu's young Mo Yan at a glance, and thought that he also liked this kind of books.

Scar literature is a literary phenomenon that dominated the mainland literary world from the late 20s to the early 70s. Early domestic films were particularly fond of adapting stories from scar literature.

"Wrong! I never read scar literature. Reading that kind of book has basically no effect except to make people become negative, depressed, and like to blame others."

Gu Zhongyu has never taken a liking to these so-called scar literature and those literary films made by the fifth-generation directors. He came to Chang'an Film Studio today simply to visit, not to worship.

When the fifth-generation directors were at their most creative and prosperous, they made literary films that depicted the darkness of society, the ugliness of human nature, and criticized the decade. Especially in the early 90s, when Tian Zhuangzhuang’s "Blue Kite" was banned in China, it was well received by foreign film critics.

It's not that this kind of satirical film is bad, it's right to make films that reflect social reality, but the directors at that time were already bewildered, and they rushed to tear up their own scars and show them to foreigners, so as to invite pets to win medals, which is a bit too much.

Moreover, the consequence of frenzied production of literary and artistic films is that commercial films in mainland China have never been able to rise. By 2000, there were still few people in the mainland who could make commercial films. At one time, they could only rely on directors from Hong Kong and Taiwan to make up for this deficiency.

This situation did not improve until Lao Mouzi's "Hero" came out in 2002. Although Gu Zhongyu had some criticisms about Lao Mouzi's "Half Lake Green", his contribution to the development of domestic commercial blockbusters is indeed huge, which cannot be denied.

"Look, that's the memorial room of "A Chinese Journey to the West", let's go in and have a look!" The girls were not interested in the archives of those literary films, and they were fascinated when they saw Zhou Xingxing's "Journey to the West".

I almost forgot that "A Chinese Journey to the West" was also co-operated with Chang'an Film Studio. In a sense, apart from "Farewell My Concubine", this may be the most influential film in the factory.

But for a while, Chang'an Film Factory regarded this movie as a shame!
It’s funny to say that when Zhou Xingxing was filming “A Chinese Journey to the West”, Chang’an Film Studio, the producer, was disgusted with shame and refused to enter the studio. Even the composer Zhao Jiping said: “When subtitles, don’t call my name, shame!” Guan Erye, who played the role of Bull Demon King, was also unwilling to let his name appear in the cast list.

Now speaking of this "Journey to the West" series, even the well-known film schools in China regard it as a textbook, as the pinnacle of nonsensical comedy movies.

"Wow! Here are Supreme Treasure's restored costumes, and you can still try them on! Teacher Gu, come and wear them! It must be very handsome." Nazha picked up the ugly clothes and wanted to put them on for Gu Zhongyu, and by the way, she looked for Fairy Zixia to change into.

"I don't want it!" It was too shameful, he was sure that Nazha was looking for Zixia's costume to make a pair with him.

As a result, Tang Yixin and a few other people also came to join in the fun, booing and asking Gu Zhongyu to change into it. Seeing everyone's unanimous request, he had no choice but to put on this nondescript clothes and play the role of Supreme Treasure.

"Does this look good?"

"Of course, Teacher Gu is much more handsome than Zhou Xingxing! I'm here to find out where Zixia's clothes are."

As soon as Nazha finished speaking, she saw Wan Qian walking over, scratching her chin and wearing Zixia Fairy's dress...

"Why are you wearing Zixia's clothes?"

The little bitch came to cut off my beard on purpose, right?
　Chapters 91 and 92 are finally released, please drive carefully in the future!

　　
　
(End of this chapter)