On the basis of comprehensive consideration of all Zhang Yimou's works, starting with the main contents of Zhang Yimou's films, this paper focuses on the analysis of Zhang Yimou's distinctive personal style and rich characteristics of the times, such as Red Sorghum, Chrysanthemum, Story of Autumn Chrysanthemum, Living, Hanging the Red Lantern High, Heroes and Ambushments. The evolution of Zhang Yimou's film theme style and its context: in Zhang Yimou's films, the folk calligraphy custom, the application of photography skills and the visual expression effect highlight the theme connotation; The weather vane of the times, the perfect interpretation of the arrow stack; These four aspects are to study Zhang Yimou's films and China's film and television industry behind them.
Key words: elbow lifting, ink painting, feudal rule, agitation, butterfly change, moral guilt, wind vane, arrow pile, red lantern, candid camera, visual feast, cynicism, crawling survival, "painting cakes", cultural symbols.
Today, there are four film and television giants, namely, the American model based on globalization and new media, the French model advocating artistic supremacy and cultural innovation, the Indian model featuring self-production and self-marketing, and the Japanese and Korean model focusing on the combination of internationalization and localization. ⑴
It is the so-called reasons that these four film and television giants are consciously or unconsciously strong and standardized, the overall quality of local filmmakers is not high, and the lack of corresponding market mechanism and perfect criticism mechanism is actually just an excuse, as well as the mutual efforts of various domestic forces, which makes the local film industry in China present the present situation: the film market is sluggish, the number of people watching movies is declining year by year, and most domestic films lack the corresponding market appeal and the support of the broad audience.
Only under the siege of film and television giants, the immature overall foundation of the film and television industry and the constraints of many procedures and policies, Zhang Yimou's Red Sorghum, Chrysanthemum Bean, Story of Autumn Chrysanthemum, Living, Hanging the Red Lantern High, Hero and House of Flying Daggers have been held frequently in Venice Film Festival, Cannes Film Festival and Berlin Film Festival. I think we have every reason to take this opportunity to study Zhang Yimou's films and reflect on what's wrong with the film and television industry in China. What's the problem? How to remedy it?
Accordingly, on the basis of overall consideration of all Zhang Yimou's works, the author intends to focus on the analysis of such works as Red Sorghum, Chrysanthemum Bean, Story of Autumn Chrysanthemum, Living, Hanging Red Lantern, Hero and House of Flying Daggers, which show distinct personal style and rich characteristics of the times, and analyze the main contents and trends of Zhang Yimou's films. The evolution of Zhang Yimou's film theme style and its context: in Zhang Yimou's films, the folk calligraphy custom, the application of photography skills and the visual expression effect highlight the theme connotation; The weather vane of the times, the perfect interpretation of the arrow stack; These four aspects are to study Zhang Yimou's films and China's film and television industry behind them.
The main content and ideological tendency of Zhang Yimou's films.
"Red Sorghum" describes the primitive and wild life of a group of farmers in China in the 1920s and 1930s, and describes the whole process of their bloody battle with Japanese invaders in an epic way, especially exaggerating the love legend of my grandparents and eulogizing such a fierce state of life: love is true love, hate is true hate, love is great hate, and life is great death. I think this is also a splash-ink portrayal of Zhang Yimou's ideal life in his youth.
"Chrysanthemum Bean" is about Jinshan, the owner of a rural dye house in the south of the Yangtze River, who married a young chrysanthemum bean in order to carry on the family line. Jinshan is old, suffering from hidden diseases and losing fertility. In addition, he insulted and destroyed chrysanthemum in various ways. Over time, Ju Dou gradually fell in love with his honest nephew Azure and gave birth to Tian Bai. After growing up, Tian Bai killed Jinshan Tianlan in the dye vat under the pressure of villagers' public opinion. Judou felt disillusioned with life when it lost its azure, and a big fire destroyed the dye house representing the feudal ethical code system. It reveals the suppression and destruction of human nature by various unreasonable feudal systems.
Song Lian, who was still in college in The Red Lantern, was married by her stepmother to a rich man, Chen Zuoqian, and became four concubines. In the Chen family courtyard, Song Lian witnessed the intrigue between wives and concubines and their respective downfall, the most
Then she went crazy herself. The next year, the red lantern was hung high again, and the fifth concubine married again. Through the description of such a common social phenomenon in the towns and villages of old China under the feudal autocracy at that time, the film reveals the ugly inside story of the crime of "cannibalism" in Chen Fu Courtyard under the feudal patriarchal clan system, and also shows the tragic experience of women being poisoned by the feudal ethical code system at that time, aiming at lashing out at the evil feudal system.
The Story of Qiu Ju is a film that reflects real rural life. Mainly focused on Qiu Ju's appeal for a statement and all kinds of twists and turns in the appeal process. On the one hand, it vividly shows Qiu Ju's strong and simple character, on the other hand, it also shows the actual living conditions in the vast rural areas. All these enable us to rethink some very specific and realistic political and economic relations, family planning policies, the imbalance between urban and rural economies and the people's appeal system just implemented in China's judicial system at that time.
Through a person's life experience, "To Be Alive" tells the life pain that people can't control in the historical destiny, and causes a wry smile to death. In his life, Fu Gui was obsessed with money at first, afraid of five gunshots, sad when his son died young, and helpless when his daughter died unexpectedly. The joys and sorrows of eating at the end of the film make us think about how we should live and how to deal with all the possibilities in life when our personal destiny is dragged down by history.
Shake, shake, shake, shake, shake, shake, shake, shake, shake, shake, shake, shake, shake, shake, shake, shake, shake, shake, shake, shake, shake, shake. Ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah
"No Child Left Behind", through the fact that Wei Minzhi, a rural primary school teacher, found Zhang, a migrant student, with the help of many good people, and made him return to school, pinned Zhang Yimou's deep anxiety about the education situation in backward areas of China, and expressed Zhang Yimou's ardent expectation for the whole society to pay attention to the disadvantaged groups. By comparing rural cities, the film shows the ups and downs of rural children's inner world deeply and delicately, and tells the contradiction between rural civilization and urban civilization far from the remote corners of modern civilization.
"My Mom and Dad" tells a pure love story between Zhao Di, the heroine who seems to be the embodiment of love and beauty, and a young male teacher under the unpolluted background of nature: Zhao Di secretly loves a simple young teacher, and subtly conveys her love by delivering meals and fetching water. They are very romantic and traditionally love each other. Then the young teacher was badly beaten by the sudden storm, and the heroine's persistent love fell on the beautiful forest and winding mountain road: the blue and white bowl was broken and jiaozi was scattered all over the floor. In this almost painful despair, she found the lost red hairpin and waited for love. This time, the two men share weal and woe for life.
All the stories in "The Hero Stabbed in Qin" show people's value and life dignity by challenging the tyranny and tyranny symbolized by Qin Shihuang. However, in Hero, Zhang Yimou does the opposite. He regarded Qin Shihuang as a hero who cared about the world, but let the people simply give up stabbing Qin, so that thousands of years of chivalry disappeared and trampled on the capital word "man" highlighted in the 1980 s. It is regarded by critics as an anti-human and anti-historical adultery.
House of flying daggers is a love tragedy set in a game that challenges life and death. Tight nerves, strong pulse, black temptation, forced pursuit and hasty escape, the two fell in love in this tense atmosphere, abandoning all blind doubts and unwarranted right and wrong and meaningless refutation of vulgar love and directly entering the theme of love: about sincerity and about life and death. All this makes us reevaluate love in this materialistic real social life: in the name of sincerity.
After Hero and House of Flying Daggers, Zhang Yimou's Riding a Thousand Miles by One Man returned to the theme of affection and warmth: Gao Cangjian didn't know his son's real thoughts and decided to go to China alone to fulfill his so-called last wish for his dying son. But the "wish" did not come true, but the son was already dead. The trip to China became a real one-way trip.
Second, the evolution of Zhang Yimou's film theme style and the evolution of context
Looking at all Zhang Yimou's film and television works, whether it is a breakthrough in the form of Red Sorghum in the 1980s or a content revolution in Alive and Raise the Red Lantern in the 1990s, there are also the commercialization in the late 1990s and the return of A Thousand Miles Alone at the beginning of the new century. Undoubtedly, it accurately grasped the pulse of this era, and truly showed all kinds of impulses hidden in our inner life and how cruel and powerful the feudal code with China characteristics was in China society at that time. At the same time, its works always ran through such a main line: lifting the cage of the times and highlighting the proposition of individual destiny resistance in the cage of the times. (2) I will briefly talk about this theme, the evolution of this theme and the relationship between the connotations expressed in related films before and after.
From "Red Sorghum" to "Living", Zhang Yimou completed a process from formal breakthrough to content revolution, showing the butterfly change process of Zhang Yimou Thought between personal resurrection and publicity, and tracing back to history. Red Sorghum in 1980s, a film with the most passionate and rebellious spirit, which pursues freedom of life and individual rights, is full of exuberant breath of life. At the same time, the film also shows the terrible mentality of random competition and violent robbery when individuals are distracted to realize their self-worth. In fact, it is also an abstract portrayal of the huge individual disability and mental illness in our society at that time. (3) The main lines of chrysanthemum beans are complementary. With more mature film language and visual impact, it explores the cause and effect of resisting this social system: after Yang Jinshan's death, Ju Dou and Wei Lan were separated from each other in the "ancestral rules" of their clansmen and elders. The "pressure of public opinion" caused by the villagers' gossip influenced their next generation and led him to kill his father. This further embodies the international theme of China's sexual resistance to feudalism. ⑷ Hanging Up the Red Lantern shows Zhang Yimou's ingenuity in inheriting and developing the first two films. He described the feudal cage to a horrible degree: the dark gray buildings, high walls, scary turrets and gloomy tunnels of the Chen family compound were isolated from the world. A kind of fear always hangs in the audience's mind, which is suffocating. Under the low leaden sky, many victims are still fighting each other: the hatred and curse between wives and servants are almost shocking: the hysterical resistance of the heroine with distinctive personality and passionate feelings and the death struggle of the third aunt. However, in the end, the red lantern was hung high and married to the fifth concubine. Living gives a bird's eye view of the vicissitudes of life, lamenting that the pain of life is unpredictable and beyond one's control. "Little people" pursue and live with humiliation for a simple goal of "living". At this point, Zhang Yimou completed the eruption and praise of personality in Red Sorghum to the questioning of national history.
Works such as Red Sorghum, Chrysanthemum Bean, Hanging Red Lantern and Living show that the video art space constructed by Zhang Yimou at this stage is very claustrophobic: remote or remote, with high walls and deep courtyards, and suffocating interpersonal space, it is like a cage. In this claustrophobic world, there are three kinds of people: one is the black old man, the ruler of the claustrophobic world and the embodiment of evil forces, which casts an ominous shadow on the claustrophobic world; One is red women-they mean rebellion, vitality and unstoppable passion for life; The other kind is the gray people, who are passive and hesitant about Nuo Nuo. He is poor, small and helpless in the claustrophobic world imprisoned by black old people. Only because of the development of the times and the change of social and cultural environment have these three kinds of people played a prominent role.
From the Story of Autumn Chrysanthemum, the "resistance" in Zhang Yimou's works tends to die out, and a "marginal state" gradually moves closer to the "central discourse", surrenders to the mainstream ideology, and compromises and agrees with the authority. 5. At the same time, Zhang Yimou found a saying for himself: turning to civilian care and paying attention to individual living conditions. This makes the repressed and distorted cultural state in Ju Dou and Hang the Red Lantern high gradually transition to the bright and stretched cultural psychology in My Mom and Dad and Riding a Thousand Miles. At this point, he turned to a simple and true display of the current rural theme.
Since the Story of Qiu Ju, Qiu has been discussing it everywhere. On the one hand, she shows the real life scene in the countryside, on the other hand, she vividly presents Qiu Ju's strong and simple task image. On New Year's Eve, Qiuju was in labor, and the village chief helped Qiuju give birth to a baby boy regardless of past grievances. Therefore, the whole family is grateful to the village head. Qiu Ju thinks the lawsuit has been closed. Just as everyone happily celebrated the full moon for their children, the Municipal Intermediate People's Court detained the village head for assault, and the police car roared away, leaving Qiu Ju's motorcade in a daze. On the one hand, it shows the simple folk customs and strong homesickness in rural areas; On the other hand, Qiu Ju's "resistance" has always been burdened with moral guilt. This kind of "resistance" is doomed to be hopeless, only superficial, and it has ended before it started. ⑹
In fact, each of us has a beautiful feeling in our hearts, but it is often tolerated and concealed by the secular. When the rapid economic development has caused people's inner poverty and desert to a certain extent, these three films, I can't leave none behind, My Mom and Dad and Riding a Thousand Miles, are full of deep humanistic care, warm love and deep family themes, which moisten our inner poverty and pallor like spring rain, so that we can relive our love, feel our family, learn to be moved and find our most sincere self. Of course, these works not only show the warm theme, but also the details of the northern countryside in The Story of Autumn Chrysanthemum and No Child Left Behind are almost natural. He put individual farmers in the context of the city, which profoundly showed the confusion and loss of farmers facing urban civilization in the transition period. Especially in The Story of Qiu Ju, Zhang Yimou deliberately scanned this bustling county with Qiu Ju's eyes, highlighting its strangeness in the eyes of a village woman. There is also the look in the eyes of two representatives who have clumsily and firmly experienced city life when drinking Coca-Cola, which vividly shows the confusion and pain in the transition stage of urbanization.
Thirdly, the application of folklore and photography skills in Zhang Yimou's films and the display of the theme connotation through visual performance.
Red Sorghum is full of legendary stories, with distinctive characters. The general trend of the original scenes such as sedan chair, sexual intercourse, urinating, peeling and solar eclipse essentially shows people's awakening and praise of fate, as well as their love for life and hatred for those who trample on life. A song "Red Sorghum" played the high-spirited theme of the Chinese nation.
In Ju Dou, in order to show the sense of shackles attached to the feudal system, Zhang Yimou first deliberately chose the huge, heavy and rigid building of Dyeing House, and then highlighted it with dense courtyards and closed doors, and carved the red tape of Yang Jinshan's funeral. As Yang Yi, a Hong Kong film critic, said, those long strips of cloth hanging high in the air crisscross like feudal rules. Manipulate people's destiny. At the same time, chrysanthemum fights and blue trysts always take place in the courtyard with closed doors or in the gloomy dungeon, which shows the plight of the couple at that time. In photography, Zhang Yimou once again gave full play to the method of color impact vision in Red Sorghum, which gave people a strong impression, especially the use of red tone: the red long dyed cloth was in an uproar when Chrysanthemum and Azure derailed, and the blood-red dyed pool became the burial place of Jinshan and Azure. The red fire destroyed the unbearable chrysanthemum dyeing workshop-feudal society.
In China's memory, the red lantern was originally a symbol of hope and happiness. In the movie "Hanging the Red Lantern High", it was interpreted as a symbol of a woman's tragic fate. More than 60 red lanterns are hung one by one in this prison-like compound, which not only gives people a visual impact, but also hangs, lights and blows lights like a ceremony, just like the fate of women in feudal society: holding up and turning off lights. Accusing women of the tragic experience of being poisoned by the marriage system and feudal ethics at that time aims to lash out at the evil feudal system. Just like Sister Xianglin in Lu Xun's Blessing.
The feudal cage symbolized by quadrangles in Hanging the Red Lantern has been described to an appalling extent: the dark gray buildings, high walls, scary turrets and gloomy tunnels of the Chen family courtyard are isolated from the world. A kind of fear always hangs in the audience's mind, which is suffocating. Under the low leaden sky, many victims are still fighting each other: the hatred and curse between wives and servants are almost shocking. In addition, in the film, Master Chen Zuoqian always appears in a dark and hazy place. Sometimes, he stays near the photo frame and never shows his face, as if he doesn't exist at all. But when something went wrong, the feudal forces he represented came into play. It shows the distortion of human nature under the double extrusion of feudal marriage system and feudal ethics represented by this dark and closed courtyard. ⑻
Zhang Yimou tried to interpret the impetuousness of urban civilization and the restless impulse of urbanites with a shocking lens in There is something to say. Tired and dizzy mobile phone photography and wide-angle lens in backlight interpret the modernization of the city with disorder and absurdity, and the relationship between characters is full of "contradictions and conflicts between rationality and irrationality".
The representative work of realism, No One Can Be Less, found a migrant student Zhang from a unique perspective, and made him return to school with the help of many good people after his husband entered the city. It shows the situation of rural education in China at that time, and shows Zhang Yimou's concern for backward education. At the same time, the "sneak shot" photography used in the film and all unprofessional actors try their best to reject all false things to express the original ecological rural life, making it a "quasi-documentary". Give people a very strong spiritual shock. Let's pay attention to people living in the countryside. Just as Zhang Yimou himself said: Plain is sometimes a kind of eternity.
In My Mom and Dad, Zhao Di is running in the fields, chasing the pictures, and the breath of fresh life comes to his face. The picture of the film is fresh, beautiful, romantic and poetic, and the theme music is exciting ... It is particularly important to note that the memory part of the film is expressed in color, while the reality is expressed in black and white. In the present tense world of black and white, the sky is gray and the earth is vast, and there is no young woman who represents vitality and beauty. The sharp contrast between the cold reality of the present tense and the beautiful memories of the past tense shows that pure love has been completely lost in this materialistic world.
The house of flying daggers is boundless between heaven and earth, and the chivalrous spirit has been lost. The so-called heroes live for themselves and their emotional life; Longing for a free life like the wind. The costumes of the characters are replaced by lush green, dark green and royal blue, instead of exciting red. Lush green, dark green and sapphire blue blend into the golden, lush green and dark green patches in the mountains and plains, setting off the insignificance of human life in the long history between heaven and earth. In addition, the lighting is becoming more and more obscure and complicated, as a film critic said: more and more incomprehensible. I think this coincides with the impetuous atmosphere and culture of this era.
"Hero" is floating in the wind, with a meaningful sigh; Dust flies and feel the sudden rise of life. Thunder and lightning, spring flowers and autumn moons, mountain springs and peaks, and the change of perspective between reality and historical illusion have caused profound philosophical thinking: the sky covered by swords and shadows, the white bones of Bai Sensen under the cry of blood and fire, the blue-black army of the king of Qin, the cool shield, the red tassels burning like blood, and the shocking shouts filled the whole screen, which made people appreciate the beauty of modern art and could not help but sigh the overwhelming lineup and sky of the king of Qin. ⑼
The perfect interpretation of the wind vane and arrow stack of the four eras
Looking at all the art cinema in Zhang Yimou, whether it is the ideological enlightenment in Red Sorghum in the mid-1980s, highlighting people's awakening and resistance, or the questioning and reflection on modern history in Alive and Shake to Waipoqiao in the 1990s, or the turn of caring for civilians and individuals in Story of Autumn Chrysanthemum, My Mom and Dad and Hanging the Red Lantern High. ⑽ Of course, the evaluation of Zhang Yimou's literary films cannot be praised by one voice, and there are inevitably criticisms and accusations. Among them, the sharpest accusations are as follows: First, he said not to expose China's poverty and backwardness. I would like to put forward my opinion: it is undeniable that old China was still in a semi-colonial and semi-feudal society in the 1920s and 1930s, and poverty and backwardness were objective facts for China and China at that time. Since Red Sorghum chose such a background, it is impossible to avoid the fact that China was poor and backward at that time, and the fact cannot be avoided. Another controversy is that Zhang Yimou deliberately catered to the curiosity of western audiences in order to achieve a certain personal goal. However, in the films Red Sorghum and Chrysanthemum Bean, he exaggerated the ugly customs of peeing, cheating and incest in China culture in the East, thinking that this greatly hurt national pride. What's more, he portrayed Zhang Yimou as a post-colonial entertainer, which led to personal humiliation. Here, I put forward my opinion: Red Sorghum itself does not focus on describing the deformity and ugliness of the people's spirit. It only eulogizes the people's bold and enthusiastic pursuit of happiness and freedom and their indomitable spirit of sacrifice, which has not been stifled by feudal ethics and Taoism, and has not been surrendered by imperialist aggressors. Its main purpose is to praise the progressive spirit of our nation, and this eulogy was displayed in a backward background at that time, especially so. "My grandfather" peed in the jar and turned it into good wine. I think this is a portrayal of individual mental deformity caused by the lack of corresponding rules and regulations of the game in our society. ⑾
In Ju Dou, whether Jinshan simply regards Ju Dou as a slave who has been handed down from generation to generation, or describes the abnormal love between Ju Dou and Azure, or Tian Bai kills her father Azure, all these strongly and nakedly show the destruction and distortion of human nature by the evil feudal society.
After My Father and Mother, Zhang Yimou's two commercial blockbusters, Hero and House of Flying Daggers, caused an uproar in the critical circle shortly after their release. On the one hand, many critics agreed that their contents were pale and empty, their narrative structure was chaotic, their stories were obscure, their relationships were stiff and far-fetched, and their dialogues were neither fish nor fowl. ⑿ What is provided to the audience is only a visual feast. Pure visual games packaged with modern technology deviate from humanistic thinking and the presentation of deep social models, and lose the questioning of national psychology. [13] Of course, I agree with them. In addition, I agree with the philosopher Kitano: In today's society, many people succumb to money and power, ignoring their spiritual feelings and humanistic height. In another way, Zhang Yimou's films adhere to his consistent position as the weather vane of the times. For example, the cynicism contained in Hero is not a sexual display of the philosophy of life that most of us pursue at the turn of the century. Even from another completely opposite point of view, the basic theme echoed by Hero is a disguised recognition of the current political discourse propaganda focus: the necessity and determination of Qin Huang to unify the six countries. [14] Another example is the gorgeous dance, exquisite costumes, long bamboo forests and flowing water in House of Flying Daggers. In all this huge and prosperous background, people are just a decoration of pain: we are small pieces crossing the river before the war, and no one cares about our lives.
But at the same time, there is no doubt that Hero, as a milestone of Zhang Yimou's films, together with Ang Lee's House of Flying Daggers and Crouching Tiger, Hidden Dragon, constitutes the cornerstone of the turning point of China's films towards commercialization and aestheticism. The mysterious dialogue of the East in Hero, the forbearance, restraint and passion of the East. The wind blew and sighed meaningfully; Dust flies and feel the sudden rise of life. The crisp sound of rain dripping on the stagnant blade, the quiver of the gun tip beside the throat, the sudden drop of blood on the sword, and the lightness and poetry of Maggie Cheung and Zhang Ziyi in Red Leaves Crossing the Sky, just as the famous contemporary film critics said: A stunning beauty was born. ⒂
Regarding the deep-seated reasons why Zhang Yimou turned from art films to commercial films in the late 1990s, I quite agree with Marco Müller, president of the Venetian Film Festival, that China films can no longer be narcissistic and narcissistic. In this commercialized society, if there is no material foundation created by the market and box office, then even if the film is no better, it will only be appreciated in a small circle, and it will not cause much sensation, and it will not be a complete success. After all, directors are human beings, and they have to eat and dress. Besides, if you don't make a commercial film, there will be no sponsorship from investors, and it will eventually become a "painting cake."
What I care about is not only the interpretation of the trend of the times in Zhang Yimou's films, but also the narrative of why Zhang Yimou has become the "arrow stack" of our times. My main concern is how Zhang Yimou, the standard-bearer of the 1980s and 1990s, made the transition to the arrow crib of that era. What is the perfect interpretation between them?
Based on the disappointment of the film critics and many film and television workers of Hero and House of Flying Daggers, they unanimously criticized Zhang Yimou. Let's re-examine Zhang Yimou and think about what went wrong with Zhang Yimou's films. What happened to the China movie? How to remedy and restore? At the same time, this situation also reflects the concern and worry of critics and film and television workers on the current situation of China film and television industry. The reason why the cultural circles criticized Zhang Yimou's Heroes and House of Flying Daggers is that everyone has found a breakthrough in their dissatisfaction with the current national mental state. Unconsciously, he has become an arrow stack of our times and an accepted cultural symbol of our times.
As soon as Hero was released, on the one hand, it was a great success at the box office, on the other hand, it was also a rare unanimous criticism in domestic critics. In this "two worlds of ice and fire", Zhang Yimou went on to shoot House of Flying Daggers. At this time, I really understood Zhang Yimou's motives for making commercial films. First of all, it is absolutely necessary for him to actively compete for Chinese and foreign cultural products by commercial means, to break the state that foreign blockbusters have no rivals in China, and then gradually establish the advantages of local films and actively promote the revitalization of China's film industry. Only then can we talk about the problem of China's films going global and competing with them.
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