Zhou Yu

Zhou Yu

Zhou Yu, born in 1929 in Fengrun County, Hebei Province, formerly known as Duan Zhulin, is a Chinese film and television director. In 1948, he graduated from the Department of drama and music, School of literature and art, Northern University of Shanxi Hebei Shandong Henan border region. Later, he served as the drama team leader of the Southern Hebei District Party committee's Art Troupe, the Hebei military region's Art Troupe, and the North China Air Administration's Art Troupe. In 1955, he joined Changchun Film Studio and successively served as assistant director and deputy director. He has written screenplays such as "the most famous Ji Du Shiniang", "xiujiangshan", "huanniang song" and "the seventy third sage". Director in 1964. His films include Beidou and Du Shiniang. Among them, Beidou (Part one) won the 1979 excellent film award of the Ministry of culture. In 1988, he was the chief director of the TV series "Young Marshal spring and Autumn". He is the fifth director of China Film Association.

brief introduction

Zhou Yu, when he was in middle school, was influenced by the revolutionary thought. In 1946, before graduating from middle school, he went to the liberated areas and entered the Northern University of the Shanxi Hebei Shandong Henan border region. He successively studied in the College of culture and education, the literature and Art Research Office, and the art college. During this period, he participated in the turnaround troupe and performed operas such as white haired girl, Zhou Zishan, Wang GUI and Li Xiangxiang, etc. In August 1948, he was transferred to the literary and artistic troupe of the Party committee of Southern Hebei as the leader of the drama team. In December 1949, he was transferred to the literary and artistic troupe of the Hebei military region as the leader of the drama team. In 1952, he was transferred to the literary and artistic troupe of the Political Department of the North China Air Force as the deputy leader of the drama team. During this period, he went deep into the countryside and the army, absorbed the material of life, and began the practice of drama director. He participated in directing such plays as "red leaf River", "growing up in battle", "heroes of jiugu mountain", "women's Representatives". He also participated in performances in North Korea and created some small singing programs in praise of heroic soldiers. In May 1955, he transferred to Changchun Film Studio to learn to be a director. "Dong Cunrui" was his first film, and Guo Wei was his teacher. In his work, Zhou Yu learned from his predecessors with an open mind and practiced art assiduously. After work, he greedily read Chinese and foreign ancient and modern literature and literary theory works, so as to broaden his horizons and lay a solid foundation for his life. In a short period of time, his professional level has been greatly improved. While studying directing, Zhou Yu is also engaged in screenplay writing.

Film and television works

As an actor, he has made films: Mao Zedong and his son (1991).... Fengzi participated in the production of films: Zhifeng War (1986).... director Mochou girl (1983).... director Du Shiniang (1981).... director Du Shiniang (1981).... screenwriter Beidou - Part 2 (1980).... director Beidou - Part 1 (1979).... director Suolong Lake (1976).... director Lu The director

Screenwriter's works

Du Shiniang (1956, in cooperation with Zhao Menghua) xiujiangshan (1960, in cooperation with Ding Gang and Zhang Tianmin) huanniang song (1961, in cooperation with Hufang) 73rd sage (1962, in cooperation with Zhang Tianmin) road test (1963, in cooperation with Zhang Tianmin)

Work style

In 1981, he directed the color costume feature film Du Shiniang, which made a new exploration in the field of bringing classic works to the screen. During the creation of the film, he greatly developed and deepened the story of "Du Shiniang's anger sank the treasure chest", which has been widely spread among the people since the middle of Ming Dynasty and has been put on the stage for many times. He removed the stylization and virtualization of traditional opera, focused on describing the fate of the characters under fengjianli, expressed the richness and complexity of the characters' characters, and expressed their emotional world, This realistic social tragedy has produced a shocking artistic force. Zhou Yu's films and screenplays are popular with people for their delicacy, lyricism, authenticity and touching. "My goal is that the film I direct should have the style and the spirit of the Chinese nation, so that the majority of the people, especially the farmers, can understand and like it," he said

Creative process

He directed the film independently from xiujiangshan (1961). Later, he directed "road test" (1965), which shows the serious theme of educating the young generation through the growth process of a young driver. After the film was shot, it was charged with "middle man theory" and failed to pass the release. It was not until the gang of four was smashed that it was able to meet the audience. From 1979 to 1980, he won the 1979 outstanding feature film award of the Ministry of culture for his highly creative passion and directed "Beidou" (Part I and part II). This film is set in the rural areas of Northern Shaanxi in the 1930s. Through the different experiences of two generations of folk artists, it reflects the hard journey of Chinese farmers in finding a way to live and embarking on the revolutionary road, and reveals the truth that only by following the Communist Party can they be liberated. The unique features of the Northern Shaanxi plateau described in this play, the poor life in the countryside outside the great wall and the colorful Northern Shaanxi folk songs all aroused Zhou Yu's creative impulse. Because he was born in the countryside and worked in the countryside for more than 30 years, he is familiar with the peasants. At the same time, since he took part in the revolutionary literature and art work, he has been influenced by the folk art of Northern Shaanxi, and even can recite many folk songs of Northern Shaanxi. In particular, the Loess Plateau of Northern Shaanxi is not only unique in China's geography, but also has a unique political position in the minds of the older generation It is a sacred place for people to recall. Zhou Yu was full of deep feelings for this old revolutionary base and determined to bring the local color and local customs of Northern Shaanxi to the screen. Zhou Yu led the creation team of "Beidou" to spend a month and a half on the journey of more than 2000 kilometers, traveling all over the deep valleys and cliffs, Huangshi hills, castles and caves in Northern Shaanxi plateau to collect scenery. How excited they are when they find a typical environment that can show the tragic fate of the protagonists Shen Changyuan and Xie Guilan; how excited they are when they choose to go to the unique stage of Guandi temple in Northern Shaanxi, as well as the unique large and thick porcelain bowl, the chic oil lamp, the storyteller's earth pipa, the little donkey hobbling on the mountain road and other props with local characteristics I'm very excited. All these, together with the wind and sand, the dilapidated Town, the gorgeous Wuhua mountain, the humorous rap, and the high pitched Qin opera, truly reproduced the remote rural scene of Northern Shaanxi with "earthy flavor and mud taste". Zhou Yucai really experienced the joys and sorrows of creation.

achievement

In the creation, we consciously explore and pursue the national style, and adhere to the confidence of taking the road of nationalization. According to the script, the protagonist is a pair of folk musicians, and Zhou Yu turns the film into a lyric feature film with strong local flavor. In the film, closely around the task of expressing the fate of the characters, 15 songs, four northern Shaanxi drums and a large section of Qin opera are arranged. It is rare for a film to accommodate such a heavy music space, which makes it more difficult for the director to deal with the art. the singing of the film is closely around the fate of the characters and the development of the plot, so that the music and visual image are in harmony. After careful planning, Zhou Yu made every effort to "sing in the play", making singing inevitable in the development of dramatic contradictions. Through singing, he showed the development of characters' emotions and personalities. For example, at the beginning of the film, a song with strong northern Shaanxi flavor is used to express the inner feelings of the two lovers, such as resentment, struggle, helplessness and yearning. For another example, Zou Xikou is a life episode, whose melody has been changing with the growth of the characters and their different circumstances. And "there is drama in singing". In this film, Zhou Yu also has great ingenuity in the artistic expression of Shen Yu. Shen Yu is a special character. Shen Yu's "asking the sky" is a romantic plot. His sad and indignant asking the sky is a complaint of his predecessors. Zhou Yu believes that this plot is the unique color of the film and has extremely strong passion. He is determined to highlight it and move the hearts of the audience. For this reason, he and his colleagues in the film team repeatedly studied and pondered. Finally, they used a helicopter and a zoom lens to pull out the half body of the characters to become the perspective of the characters, showing the vast environment. Then the plane circled and flew, causing the earth to rotate. The theme of "asking the vast earth, who is in charge of ups and downs" was vividly reflected, coupled with a passionate voice Happy, reached the emotional climax. This bold and unique artistic treatment has achieved a touching artistic effect. This film shows Zhou Yu's innovative spirit in art and his gratifying achievement in exploring national style. He said with deep experience: "we must try our best to get familiar with the Chinese people's life, psychological state, local conditions and customs, language habits, life details and so on, in order to make our films full of distinctive national characteristics; second, we must love and work hard to learn all kinds of traditional Chinese arts to nourish and edify ourselves. In this way, the film may have a distinctive national style in the form of artistic expression. "

Chinese PinYin : Zhou Yu