What is the root of the change in the image of urban nomads from a destroyer of civilization to a hero?

2022-06-08 0 By

Born and developed under modern technology, films focus on, express and think about the problems in the development of modern society with the help of images, and show the improvement and all-round development of urban homeless groups through the creation of diversified homeless images.The vagrants in Chongqing’s urban films range from depraved and anxious (Crazy Stone, The Door) to confused and constantly searching for themselves (Chongqing Blues, Light Blue Amber), and even those who save others and maintain social order (Hot Pot hero, Desperate).Through combing, it is found that the screen image of urban nomads has a transformation process from a destroyer of civilization to a nomad hero.In the early chongqing city films, the vagrant groups were obviously destructive, with single and easy to identify character characteristics and relatively flat character shaping.After 2010, the image of nomads on the film screen became more three-dimensional and multi-faceted. In the development of film and television narrative, the characters’ personalities changed and the hero transformation of the little people was realized in the inner conflict.So what is the root of the change in the image of the urban nomad from destroyer of civilization to hero?Freud divided the development of personality into “id”, “ego” and “superego”.Among them, “id” is composed of innate instinct and desire, located at the deepest level of personality structure, is unconscious, irrational, disorderly, and follows the happiness principle;The “ego” is differentiated from the “id” and controls the activity of the ID with the principle of reality.The disordered state of vagrant living in the city makes this group lack the means to survive and gradually lose their position in the mainstream society, and the right to live can not be guaranteed.Due to the need of survival, the material desire of urban nomads is realized in an irrational way without rational restraint of self and under the moral constraint of superego, and finally leads to the road of illegal crime.During the period of Social transformation in China, the characteristics of this group against mainstream ideology and social value norms are becoming more and more obvious.The early images of Chongqing city mainly portrayed the socially destructive screen images of thieves and psychopaths engaged in stealing and abducting.Their development is one-sided, antisocial has become their most easy to judge and prominent characteristics.In the movie Crazy Stone, Doug, Hei, and Xiaojun are urban vagrants who have lost their jobs due to lack of employment.Without a fixed occupation and unwilling to make a living through legitimate and legal means, in pursuit of material wealth, they form criminal groups and obtain money by stealing and abducting. They commit social crimes without regard to the consequences and without restraint, not only parasiting the society, but also poisoning the good atmosphere of the society.Elder brother in with two younger brother with winning Coca-Cola bottles lie failure, said a sentence: “this business can’t do it”, looked at in the jade exhibition information newspaper said plans to steal “was the rise of my career at this stage,” they loudly call daily line steal activities project, called stealing his own business, no sense of shame for criminal behavior.The strong inner need for survival externalizes and dominates their behavior impulse to pursue pleasure regardless of social morality.He often says, “Things you can do with a hammer.”The use of simple violence was his solution to all his problems, and he did not think much of such violations of social norms.As the original motive force, the instinctive desire for survival stimulates the behavior impulse of the homeless subjects. At the end of the film, all the evils return to the most primitive desire: the hungry black skin finally wins the “bread” with the “hammer”.Due to the reasons of incomplete family and low education level, homeless groups have the problem of incomplete personality development, lack of the middle layer of personality — “ego” rationality to control the instinctive desire, let alone “superego” level of moral internalization of desire suppression.Wandering on the edge of society, they release their instinctive desires based on individual happiness, and even go on the road of breaking the law and committing crimes without realizing it.Chiang Zhongtian, the unemployed youth in the movie The Door, is a psychopath.His inner imbalance is that the friend who was his sideman when he was a child is now far above him in social and economic status, and he constantly suspects that his friend’s behavior is a show of wealth to him, and he often hallucinates that his childhood sweetheart is cheating on him.All kinds of subconscious in the heart after strengthening, Jiang Zhongtian anxious suspicious, extreme lack of security, can not normal life.He lost trust in everything around him and even doubted whether the space he lived in was real……The cross-cutting between illusion and reality shows the character’s mental collapse and split psychological state. In the interweaving of real space and illusion space, he gradually loses himself and eventually kills his girlfriend and friend.The pressure of real life and the strong material desire have become the spiritual problems that the urban nomads have to face. The temptation of reality disturbs their life and emotional choice, but also makes them deviate from the track of life.As for the livelihood issues arising in the period of social transformation, the 2007 report emphasizes the protection of people’s rights and interests as well as social equity and justice. To some extent, these guidelines reflect the government’s concern and reflection on social modernization and actively explore the healthy direction of social development.In such a socio-political and cultural background, the image of nomads in the film is no longer just a single destroyer who challenges the civilized order of the city and destroys social harmony, but also constitutes a new kind of social constructive force.After 2010, chongqing city film produced a new category of homeless image — homeless hero.Compared with the flat characterization of the urban civilization order breakers in the early stage, the character of the nomads in this stage is more rich and three-dimensional, and the inner struggle and revolt in the narrative plots show the complexity and multi-dimension of the character of the nomads.Movie hero “hot pot” and “desperate”, steal bank vault capital play the part of the kidnappers, adapted to resell black car, desperate to extract high rewards in the plot of the destruction of the traditional social order one by one the decadence of homeless image appeared, but along the development of the story will find the film began to show the complexity of the inner characters, the character to the contradictions, three-dimensional and multi-dimensional.The inflated material desire in Hero of Hot Pot is Liu Bo’s strong demand for money when the social survival is not guaranteed. After the theft, the confrontation between “material desire” and “family emotion” is prominent in the characters.In order to protect the money and even fight with the creditors, these behaviors are opposite to his identity as a vagrant in the state of social “disordered”, and the inner character of the characters in the conflict struggle is shown in multiple dimensions.Similarly, in the movie “Desperate”, Liu Xiaojun was moved by the innocence of qiqi after “kidnapping” the little girl. In his heart, he showed a strong conflict between “material needs” and “spiritual feelings”. In the corridor of the hospital, he fell into the ideological struggle between “taking money” and “leaving money”.The creation of such circular characters makes the screen image of vagabonds more charming, and the inner confrontation of characters more shows the deep meaning of humanity.The heroic portrayal of the tramp image is different from the traditional “tall and full” heroic characters. Xu Bo in “Hero of Hot Pot” and Liu Xiaojun in “Desperate” have similar weaknesses in their social identity and personality preferences, such as idleness and gambling, which are difficult to be associated with the heroic characters.But in the choice of behavior, the inner good has overcome the original evil idea: In the Hero of Hot Pot, Liu Bo just met the bank robbery when he surrendered to the police. In the battle of wits, Liu Bo became the defender of social order.At the end of “Desperate,” Liu xiaojun realizes his heroic transformation when he fights qiqi’s kidnappers who hurt him and robbed him for ransom on a riverbank.If the destroyer of social order is the release of the “id” of the homeless, the “heroic metamorphosis” can be said to be the realization of the “superego” of the homeless group.For more exciting content, follow the cat entertainment