What does "nonsense" mean?

Now people generally understand it as vulgaria, but it's actually different.

One way of saying this is: Wulitou was originally a saying in Foshan, Guangdong Province, which means that a person's words and deeds are difficult to understand, have no center, have no clear purpose in language and behavior, are vulgar and random, and complain indiscriminately, but it is not unreasonable.

Another way of saying it is Shunde dialect, which is the most vicious sentence in swearing, meaning that a person can do nothing and is useless.

Wulitou culture should belong to a vein of post-modern culture. In Wulitou movies, we can read that there is no deep expression, no disorder, no isolation orthodoxy and so on.

Nonsense language or behavior has profound social connotation in essence, and directly touches the essence of things through its appearance of banter, ridicule and cynicism. If you meet most of the following conditions, then, in fact, you have the basic characteristics of nonsense in today's times:

I don't care about other people's opinions, commitment, age concept, sacrifice my hobbies for health, and don't care about the price of things I like. I especially like "chasing after the new", my fantasy can't stop, my mind jumps, I often say amazing things, I am used to sleeping naked when I think of anything, I never make a fuss, and I can't find anything out of thin air from time to time. You can't find mala Tang in summer and ice cream in winter, but it's not enough. E-mail is your best way to contact. You are too lazy to save money. You think night is better than day. You have a pet but no children. You like being free and unrestrained. You always maintain the spirit of revolutionary optimism, dare to despise authority and utilitarianism. ...

Anatomical nonsense

In my opinion, nonsense contains at least three meanings: exaggeration, irony and self-mockery.

The first is exaggeration. The expression of nonsense is particularly exaggerated. This kind of exaggeration exceeds the exaggeration required by film and television literature and art itself, making it impossible for viewers or readers to see many things at a glance, but they can't help but throw themselves into them. In Night of the Soul, Stephen Chow plays a madman who can release everyone with a paper hat, which is an exaggeration of the traditional concept; In King Kong, the life he led at first was extravagant, which was an exaggeration of his lifestyle. In A One-Stop Journey, A Shui tore off a female classmate's coat in public and was in great pain, which is an exaggeration of her emotional desire. Exaggeration gives people a vivid feeling and brings all kinds of things that can't or don't want to be expressed in normal life to the extreme.

The second is irony. Life is impermanent, and many pains and misfortunes cannot be resolved. Facing the darkness and filth of society, the greed and selfishness of human nature, the good looks of men, the impetuousness of women, the boredom of work and the troubles of making money, everything is the object of irony. In "Moonlight Box", a group of men led by Supreme Bao collectively pretended to be dead when fighting against the goblins, which is an irony of loyalty, because at the beginning, all his men appeared in a self-centered manner. In The Wedding of the Great Sage, he can't get rid of his love for a very annoying woman-Xia Zi, which is an irony of his promise, because he has promised Bai Jingjing to be her husband, and he will be someone else's 500 years later; In "The God of Food", Stephen Chow died unsatisfied for the proposal of a double-edged turkey to draw a heart, which is an irony to women-for a woman, no matter how loyal, responsible, intelligent and capable she is, she will always be just a skin in men's minds.

Finally, say self-mockery. In fact, self-mockery should be the sublimation of irony, not only a realm of film and television art, but also a realm of thought. When a person learns to laugh at himself, he is really mature. Throughout all Xing Chi's films, there is a strong color of self-mockery, among which king of comedy is the most important.

Distort yourself, exaggerate yourself, satirize yourself and make the audience laugh. This is not an ordinary performance, but an inner revelation and explanation. It's even harder to laugh at yourself properly and not give people the feeling of grandstanding. You must have a humble appearance, an ordinary appearance, vulgar manners, dull words, and even seemingly stupid behavior ... there is only one flash in you, and no one can replace it, and that is wisdom. You have given people happiness with your wisdom.

Since the 1990s, a new type of comedy film has suddenly swept across Hong Kong, which is the so-called "Wulitou film". On the surface, the "Wulitou movie" gives up the criticism of traditional Hong Kong comedies on society, just to win the audience's happiness and be funny for the sake of being funny. But in fact, it adopts ingenious and superb plot design, which not only provides a channel for the public to vent their emotions, but also establishes a unique outlook on life. In addition, because of its special cultural background and viewpoint, it can't be a universal genre, but only a subtype of comedy movies in Chinese-speaking areas (it can also be said that every place has its own nonsense culture, but this nonsense culture is exclusive and exclusive, and only local people can understand it). As a sub-type of comedy, Wulitou movies are often questioned. Although it is also supported by the public at the box office like other types of comedies, it is still an unsightly film genre or even a genre in the eyes of many film critics (I agree that it is a new comedy expression rather than a sub-genre of comedy). Therefore, most of the discussions about nonsense movies are about discussion. As a cultural phenomenon, Wulitou has certainly not received due attention, and most scholars in Hong Kong who talk about Wulitou cultural phenomenon scoff at it. Some people think that nonsense is a virus that invades language, monopolizes communication and invades thinking. Some people even think that frivolous and careless attitude is actually a kind of cultural degradation and escape, which does not involve any introspection and self-awareness ..... It is also related to the psychological barbarism that Hong Kong's cultural tradition is weak, its education level drops, and it loses interest and confidence in words and values.

But what makes people feel paradoxical is that if Wulitou movies are so unbearable, why are they so popular in Hong Kong? It also spread all over China in a short time and became the spiritual sustenance of Hong Kong people at that time? Therefore, the Wulitou film must have its own uniqueness, which is why it is worth studying.

Basically, when it comes to nonsense movies, you will think of Stephen Chow; When I mention Stephen Chow, I think of nonsense movies, which are equal to each other. Wulitou movies are inseparable from Stephen Chow. As the originator of Wulitou movies, the rising history of Stephen Chow also represents the evolution history of Wulitou movies, so when we want to describe the historical evolution of Wulitou movies, we can analyze the changes of Wulitou movies at various stages according to the movies starring Stephen Chow.

The original nonsense films mainly used exaggerated and vulgar performance styles to achieve a funny effect. The purpose of their films was just to win the audience a smile. The Wulitou films in this period mainly relied on Stephen Chow's personal star charm, and initially established the external structure of the whole Wulitou film. In this process, Wulitou film and Stephen Chow can be said to be equal.

In addition, in addition to Stephen Chow's own performance charm, director Jing Wong's personal vulgar style also led the trend of nonsense movies. Without the commercialization of Wulitou movies in Jing Wong and the integration of many common sayings in life into the plot, only Stephen Chow's unique performance was not enough to make Wulitou movies the spiritual sustenance of Hong Kong people at that time. Jing Wong's personal box office guarantee and unique film taste have enabled Stephen Chow's nonsense performances to enter the commercial film system, and exposed a large number of nonsense films to Hong Kong people. Therefore, we can see that almost all the films starring Stephen Chow in his early years were directed by Jing Wong, such as Gambler, Gambler Saint, Truant, Trick Expert, Duke of Lushan Series and so on. Even after Xing Zi became a star, sometimes it is necessary to make some purely funny nonsense movies to meet business needs. At this point, Jing Wong is still his best partner.

Until the appearance of "Tang Bohu Dian Qiu Xiang", the genre characteristics of Wulitou movies such as dislocation of time and space, loose adaptation and special language logic were basically determined, and the original period of Wulitou movies basically ended. Almost all the features of the nonsense movies we see today appear in this movie (such as the familiar role of flowers, which is the first time in this movie), and this movie is also the first cooperation between Stephen Chow and Li Lichi.

When Stephen Chow had a certain box office charm and the audience had a certain cognitive basis for the unique performance mode of Wulitou movies, at this time, Stephen Chow began to loosely adapt these old things by absorbing previous movie classics or stories, so as to make them conform to the social pulse and develop some special, strange or alternative views. Besides, he began to understand the difficulties he encountered. Some bridges are used to ridicule me, or to provide channels for the audience to express their pressure by satirizing the present. Among them, the representative works are Judge of Death, The Secret Agent who made a scene in Heaven, Home-made Zero Paint, Moonlight BoxNo. 10 1 directed by Stephen Chow for the first time, Liu Zhenwei who took the Wulitou film to another level and The Journey to the West.