Qu Baiyin

Qu Baiyin

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Qu Baiyin, pseudonym Baiyin, Yan Kefeng. He is from Jiading, Shanghai. After 1933, he worked in Shanghai amateur drama company, the second acting team and the new China Drama Company. After the victory of the Anti Japanese War, he worked in Hong Kong Nanping film company and Daguang film company. After 1949, he successively served as director of the fifth scene of Shanghai Film Studio, director of Shanghai Changjiang film studio, director of the Central Film Bureau, deputy director and consultant of Shanghai Film Bureau. Member of the 2nd, 3rd and 4th CPPCC Shanghai Municipal Committee, vice chairman of Shanghai Branch of China Film Association. His works began to be published in 1933. He joined the Chinese Writers Association in 1953. He is the author of the screenplay "red sun" and "a thousand red flowers are always spring" (cooperation), one act screenplay collection "south train", thesis "monologue on film innovation", etc.

Character experience

During the Anti Japanese War, he served as the director of the third and fourth national salvation drama teams in Shanghai and the director of the new China drama club. In 1938, he joined northwest film company. In 1940, he published a large documentary "North China is ours". In 1948, he became a screenwriter of Hong Kong bright film company. He once formed a seven member film review group with Xia Yan and others to engage in film review. He launched film criticism in the "stage and screen" biweekly of China business daily, and created the screenplay "people on water". After the founding of the people's Republic of China, he successively served as deputy manager of Shanghai film production company, deputy director of Shanghai Film Bureau, third director of China Film Association and vice chairman of Shanghai Branch. In 1951, he co edited and directed the spring of two families. In 1958, he collaborated with others in the production of the feature film "all colors are always spring". In 1960, the film "red sun" was adapted from the novel of the same name. In June 1962, he published a monologue on film innovation. He is the author of the screenplay "people on the water", "red sun", the thesis "monologue on film innovation", and the translation of (Su) Stanislavsky's "my artistic life". Qu Baiyin is knowledgeable and always attaches importance to theoretical research. In the early 1960s, he personally presided over and organized creative personnel to participate in comedy seminars, more than ten times before and after. His "monologue on new problems in film creation" is closely combined with the reality of film creation. It is full of insight, sincere words and clear-cut views. It advocates to be open-minded and innovative. After the publication of this article, it has aroused strong criticism. After the collapse of the Jiangqing counter revolutionary group, he served as a consultant of the Shanghai Film Bureau and published "remember the proverbs and sum up the experience". He died in Shanghai on November 1, 1979. Qu Baiyin (1910-1979), formerly known as Qu Jinju, was once known as Yan Kefeng, Zhu Cheng, Hu Muyun, etc. In 1932, he joined the Communist Youth League of China and joined the left wing dramatist League of China. He served as the head of the Nanjing Branch League and organized performances of "Nora", "fragrant rice" and "random bell" for many times. In 1934, he participated in the organization of Shanghai amateur experimental theater. After the outbreak of the Anti Japanese War, Qu Baiyin took part in the performance Committee of "defending Lugou Bridge" composed of Xia Yan and Yu Ling, and took part in the leadership work of the third and fourth teams of Shanghai National Salvation drama, and later became the leader of the second team of Anti Japanese drama. In 1940, Qu Baiyin joined the northwest film company in Chengdu. He wrote a large documentary "North China is ours" and wrote a commentary. This is the beginning of his film career. The film eulogizes the consolidation and development of the Anti Japanese base area under the leadership of the party, and embodies the idea of mobilizing the masses and fighting in an all-round way. In 1941, Qu Baiyin was the director of the new China drama society in Guilin. He directed such famous plays as "Thunderstorm", "imperial envoy", "drama spring and Autumn". During this period, he also translated the Soviet drama "marshal suvarov" and wrote the long poem "the picture of winter". In 1943, he participated in organizing the first drama exhibition in Southwest China, displaying more than 60 dramas promoting Anti Japanese War, which greatly inspired the people's will to fight against Japan. In 1948, Qu Baiyin came to Hong Kong and worked as a screenwriter for Daguang film company. He wrote a screenplay "people on water" reflecting fishermen's struggle against hegemony. During his stay in Hong Kong, he, together with Xia Yan, ye Yiqun, Hong Qiu and other six comrades, formed a seven member film review group and published a large number of articles to publicize the CPC's literary and art policy in the liberated areas, introduce the films and dramas in the liberated areas, recommend progressive films and criticize harmful films. At the same time, he also wrote one act plays such as "train south" and "Miss Hong Kong", which are quite influential. In 1949, Qu Baiyin returned to Shanghai from Hong Kong. In addition to the heavy administrative and business leadership work, he still expressed his feelings and creation. In 1950, he directed "two spring" which reflects the new face of the countryside. In 1953, he cooperated with Czechoslovakia to shoot China's first color documentary "a piece of people's heart". The above two films respectively won the third and second prizes of excellent films from 1949 to 1955 issued by the Ministry of culture. In 1958, he cooperated with Shen Fu to write the screenplay "all colors are always spring". In 1962, the novel "red sun" with the same name was adapted, which vividly reproduces the historical turning process of the people's Liberation War from strategic defense to strategic attack. Through the complete overall artistic conception and distinctive and characteristic task image, red sun has become one of the rare excellent masterpieces in the new China's military affairs movies. Qu Baiyin is knowledgeable and always attaches importance to theoretical research. He has translated and published Stanislavsky's my artistic life. After the founding of the people's Republic of China, he served successively as director of Shanghai Changjiang film studio, deputy manager of Shanghai film production company, deputy director of Shanghai Municipal Film Bureau and vice chairman of Shanghai Film Association. died in Shanghai on November 1, 1979.

Related events

In 1949, Qu Baiyin, a well-known early Chinese filmmaker, came to Hong Kong from Shanghai and created the screenplay "people on water". When Qu Baiyin and his party rented a place to shoot in the Greater China Film Studio, they did not know which link was wrong. One of the scenes had the problem of "the sound and the picture were not synchronized", that is, the length of the negative film and the sound was quite different. The old editors have never met such a situation. They don't know what to do at once, and no one dares to take over the job. Qu Baiyin is very worried. If the play really can't be cut, the hundreds of thousands that have been invested in the front will be thrown away. In a hurry, he found Chen Guoqiang through the underground party organization. With this relationship, he believes that Chen Guoqiang will do his best to help. But even the old editor did not take over the work, whether can do a good job in who's heart all have no bottom. Chen Guoqiang, 22, had to give it a try. According to the general editing practice, the editor only needs to give "a clip" according to the normal shooting order. But this time there is a distance difference, obviously "a scissors" can not be completed. Chen Guoqiang took the film and studied it again and again. He suddenly got inspiration. He felt that since one clip couldn't work, he would have more scissors. That is to say, instead of going in the same order as before, he would have several scissors in different places. As long as the actual distance of the scissors is equal to the total distance of the difference, it can also be called "equal distance splicing". In this way, the "sound and painting are not synchronized" phenomenon appeared in front The problem is solved. This "equal distance editing", which the old editors in Hong Kong had never thought of before, not only opened a precedent for editing in Hong Kong film industry, but also created a miracle. It is a breakthrough for Chen Guoqiang. He finally realized that the editing world is "a vast world of great achievements". It's just like a designer who has mastered independent creation can not only cut the negatives at will, but also create the most perfect effect for the film.

Chinese PinYin : Qu Bai Yin