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Made In China In Cotton

2014/8/4 10:25:00 15

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here the world is < a target= "_blank" href= "http://www.91se91.com/" > dress < /a > a target= "_blank" href= "_blank".

ah son Er .

in the contemporary Chinese documentary director, Zhou Hao is a very important photojournalist. He has a distinctive brand of reporter's thinking in every work.

In the documentaries such as Gao San, Houjie, and difference hall, Zhou Hao showed keen insight in reality, exceptional interview and breakthroughs, typical ability, excellent emotional control, and his filming had the depth of news, which could be reported.

the new cotton is also adhering to the unique thinking style of this journalist.

His camera follows the fate of a cotton plant, from planting to spinning to wholesale to USA, which shows the individual destiny of all sectors of the economy under "made in China".

Less than 9 years ago, Zhou Hao met a Xinjiang man who planted cotton on a train. So he gave birth to the idea of filming a documentary about the cotton spinning industry chain. His ambition was even big enough to take pnational photography, go to India, Thailand and other places to complete a chain, and for a variety of reasons, he failed to make it.

In the waste, Zhou Hao finally chose to work with the French clips to end the work of filming cotton and make it into films.

"P > cotton" is made roughly by the cross cutting of three main lines of cotton planting, cotton spinning plant and jeans production company.

Among them, the cotton planting part takes time as the line, and then goes through the steps of planting, picking top, lifting yarn, pporting and so on into "a target=" "_blank" href= "http://www.91se91.com/" > textile < /a >, and the farmers' hard work and the vision of production technology progress.

Part of the cotton mill takes Henan textile women workers as the filming main body. They live in high temperature without air-conditioning factories. Some women workers are afraid to take a vacation for seven or eight months. Other young girls are not willing to be the fate of the mechanic, often struggling on the edge of resignation.

The third part is the process of processing and selling jeans in the Pearl River Delta.

the film is not the same as Zhou Hao's past shooting. It is no longer a strong drama, but rather plain and relaxed.

For example, in shooting the cotton planting part, Zhou Hao captured the light on the ridge of the ridge and looked at the lines formed by the farmers in succession into the field. It reminds me of Abbas's composition and artistic conception.

In telling the worker's part, he also used a lot of people's pauses, full of sympathy.

At the bridge section of the female workers, the low angle flat view close-up is used to represent physical crowding, and it can be extended to understand the sense of constraint caused by the intensive labor industry.

The characters in cotton are not individual characters, but they are blurred or even symbolized by adding a filter.

This symbolization, I think, is not the negligence of director Zhou Hao, but rather the inevitability of the early ambitious shooting ambition. The object and material needed are too much, and the individual "play" is naturally weakened. Secondly, this is the objective reality of "individual" today.

when talking with a pair of jeans processing workers, the middle-aged man said lightly that "the gap between the rich and the poor is too large", which is accused of being "superficial and not thorough".

However, my understanding is that this sentence is not superficial to the workers, nor can it refer to the superficial director. This sentence has become the same way of greeting "eating" in today's social reality.

This is like the curse of corruption in the dinner party, or the "institutional problem" when it happens. It is a nothingness sigh after being numb, a hopeless expression of the situation that can not be changed.

in the first half of the movie, I always carry the question of "Zhou Hao is left and right."

But when I look at the complete film, I understand that this problem is no longer important.

P, a sensitive and thoughtful artist, is always deeply sympathetic to the laboring masses, but he is naive in his understanding of the economy.

Chaplin has already created such films as "city light" and "modern times" to explore the relationship between capital industry and personal happiness. There is no need to say much about the dissatisfaction of the times.

Johnny To's "killing the gold" depicts the confusion of the little man in the era of the golden age, but also does not exceed the level of "hatred with money" in portraying people's greed.

Hayao Miyazaki, another environmentally-friendly film master who loved the laborers, was obsessed with socialism in his early years. He did not change his mind until he finished the valley of winds in 1994.

caring for the poor can not be equated to attacking rich people or occupying resources.

Zhou Hao did not show the edge of criticism outside the lens of concern, which was criticized by some audiences as "compromise".

But if we want to criticize on the basis of observing reality, where should we point to "sword"? Industrial production, market economy, urbanization and globalization all result in the desolation of rural China and the boring life of workers. Emotional expression is clearly unable to solve the problem.

some other scholars have tried to give the prescription.

Whig, the commentator of the twenty-first Century economic report, believes that if we want to improve our rural life, we should follow the example of the United States and build a new type of village with "free combination of their living attitudes and living preferences". This combination can be realized by the subdivision and customization of developers, or directly organized by residents.

In the article "where is the road to the revival of rural areas", he wrote: "such development has put forward very high demands on the institutional environment: if residents can not move freely, land property rights have not been implemented, land use and pactions have been restricted, residents have no right to self organize, community self-management contracts have not been recognized by law, community development is restricted by the shackles of administrative divisions, self-management is in conflict with existing village government systems, and infrastructure construction such as hydropower and road communication is monopolized and controlled. Residents are paying taxes like community property fees and realizing self supply of public goods, but they still have to pay taxes like other communities which rely on government services, so new villages and towns can hardly be established."

the article gives a positive example of the village of Arden, an autonomous community in Delaware, with artists and lovers as "target customers", and Layton Fairfax, an autonomous community in Virginia Fairfax County, in order to show the feasibility of improving the village.

in fact, in the early twentieth Century, the movement of "returning to the countryside" initiated by the Americans has been faint in the area of Jiangsu, Zhejiang and Shanghai.

Last year, the No.1 document of the Central Committee proposed that we should vigorously support and cultivate new types of production and management entities, such as professional households, family farms and farmer cooperatives.

In recent years, family farms in Shanghai, Songjiang, Hong Kong, Hong Kong and Ye Xie have implemented family farm trials in order to alleviate the imbalance between urban and rural areas.

however, the idea of these commentators and the difficult steps of reform can finally realize the sense of life in villages and towns in China, and whether workers and peasants can gain the inner strength to resist globalization. These are still hard to understand, let alone let a documentary film take on the task of solving China's real problems.

in cotton, Zhou Hao did not show his position, but silently watched the diligent and unsuccessful farmers and workers in their lives.

As Nie Xinru, a professor at East China Normal University, said, "many of the films are not mentioned. These are left to the audience to think for themselves.

Zhou Hao has always resisted any label and over interpretation. After he finished his senior three, he said, "I am not an improver, but a recorder."

I think, as a reporter, Zhou Hao's introvertion should not be confined to the setting of journalistic teaching books, such as "reporters should objectively record without expressing opinions", or believe in the theory of "direct cinema", but not without their own views. After tracing back to the whole chain and repeatedly observing the gap between globalization and the mode of land survival, they went to a helpless calm.

Zhou Hao said, "maybe I am old and no longer fierce.

There is nothing more to say than to gaze at the land with the lens.

the most touching part of the film is the scene when the women workers take the train together.

In the crowd of laughter, a textile worker confidently sang the Henan Opera "who says women are inferior to men".

Liu elder brother's speech is too biased .

who says women enjoy leisure?

men's war to border pass .

women's textile at home

planting in the daytime, spinning cotton at night "/p".

work hard day and night, .

villagers only have this food and drink wear .

if you don't believe it, look at it.

our shoes and socks and clothes and shirts

thousand needles and 10000 lines are all of them even .

there are many heroines who also gave credit to /p.

to kill the enemy for the country is from generation to generation .

which of the women is inferior to the male child .

cough, alas, /p.

The Henan dialect at P is like a yellow oriole.

The individual at this moment has finally been sharpened in the context of the group but not separated from the collective.

The loud voice, singing a bunch of hemp on my body, reminds me of the sweetness of life -- no matter what it is diluted to be, is the only sweetness, just like the a href= "http://www.91se91.com/news/index_s.asp" > cotton < /a > the process of growing out of the land itself.