Saturday, January 13, 1979, around 2 p.m.

Shen Chong walked off the minibus, walked through a street intersection, and walked for a few more minutes. Just in front of a half-new building, he saw the sign of the "Hong Kong Film and Culture Center".

In a corner of the stairs, a fat man in glasses stood against the wall, holding a few pieces of paper in his hand, looking down at him.

I saw Shu Qi's photos on the Internet in my previous life, and they were somewhat similar to this person. Chen Chong asked tentatively.

"Editor Shu?"

"Ah." The man in glasses raised his head and asked with some uncertainty: "Are you Mr. Chen Chongchen?"

"Yes."

"Mr. Chen is so young." Shu Qi came up to shake hands with Shen Chong and said, "That article is so sophisticated and has extraordinary insights. I thought Mr. Chen was an old scholar, but I didn't expect that he was so young and promising."

"Exceeding the award." Chen Chong was polite, "Only if Editor-in-Chief Shu did a career like this, I would be considered young and promising. My shallow knowledge is not worth mentioning."

"Mr. Chen, don't be humble." Shu Qi raised her hand and signaled Chen Chong to follow him, saying, "A few days ago, I was in Jiahe. I saw Wu Siyuan holding your article for Cai Yongchang to read. Boss Cai admired me very much and asked me for a biweekly magazine, saying that it would be for the big boss to read."

Wu Siyuan, the hottest independent producer in Hong Kong, produced by his company, the box office hit "Drunk Boxing" and "Snake Shame Hand" that were sold at the box office last year.

Cai Yongchang, one of the giants of Jiahe Company, is responsible for theaters and issuance businesses. Some time ago, he signed a check of 4.7 million yuan and dug Jackie Chan to Jiahe, which caused a sensation. (Note 1)

When Chen Chong felt a little proud of his articles when he heard the two big shots in the film industry.

When going upstairs, Shu Qi introduced the basic situation of the relevant film and cultural center.

The name of the Hong Kong Film and Culture Center is quite high-end and elegant. It is actually a private organization organized by a group of filmmakers. It was established last year, in January 1978, and it is now on its first anniversary. It mainly conducts some film and television training and also does some film culture promotion work, such as foreign classic film screenings, film culture lectures, filmmaker symposiums and other activities.

The event venue is small and the office teaching equipment is old, so it seems that the funds are very tight.

This is Chen Chong’s first impression of the Hong Kong Film and Culture Center. However, as long as you have money, you can improve it. The key is the quality of the training... If the teaching quality is good, you can consider incorporating it when you have money.

But soon, Chen Chong made up his mind to take over the movie culture center because he saw a course schedule on the wall in the corridor.

“1978 Hong Kong Film and Culture Center Fall Course Schedule.”

"Subject: Establishing a movie studio, mentor: Tsui Hark."

"Subject: Junior Film Production, Mentor: Zhang Guoming."

"Subject: Junior Screenwriter, Mentor: Wang Jing, Gao Zhisen."

"Subject: Director, Mentor: Cai Jiguang, Fang Yuping, Yan Hao." (Note 2)

...

This mentor lineup is full of stars, and the Voice of China has to be on the tail when it comes.

And this is a super star... a big sale... the most expensive tuition is the courses of Zhang Guoming and Tsui Hark, 360 per semester, and the cheapest is the junior screenwriter class led by Wang Jing, 120 per semester.

In later generations, with the reputation of these people, the tuition fee must be added at least two zeros, and only one class is taught, not one semester.

Chen Chong stood in front of the course schedule and felt a lot of emotion. Shu Qi was confused and asked, "Why, Mr. Chen is also interested in coming here to be a tutor?"

Chen Chong shook his head, calmly saying that he was very busy recently and could not take time, but there was a movie lover's soul shouting in his heart.

Be a tutor?

I don't have the qualifications, I want to be a student...

Shaking his head, putting aside his emotions, Chen Chong followed Shu Qi and walked into a conference room. There were already five or six people inside. The room was filled with smoke, and it seemed that they were all big smoke guns.

Shu Qi introduced it to Chen Chong one by one.

Cai Jiguang, currently director of TVB, is one of the screenwriters of the movie "Snake Shame Hands", which made Jackie Chan a hit last year.

Roca, a senior film critic and stage drama director.

Gao Zhisen, TVB assistant director.

Fang Yuping, director of TVB.

Tang Jiming, director of TVB.

While shook hands, Chen Chong sighed that TVB was really a crouching tiger, hidden dragon, and talented.

After getting to know each other, a group of people started chatting. They were all young people in their twenties and thirties, with similar temperaments and the same hobbies. They soon became very busy. After all, they came from the Internet era. There were a lot of messy information in their minds, strange things, current affairs, romantic gossip, and any topic, and they could make jokes about it. They also had novel views and unique characteristics. They were stunned by the few people present, and they all admired him for his knowledgeable knowledge.

Some people came one after another, and Chen Chong had never seen Tsui Hark. After asking, Cai Jiguang said that Tsui Hark was valued by Wu Siyuan and invested in him to shoot a martial arts film. He went to Taiwan to watch the outdoor scene a few days ago.

Tsui Hark has started filming "The Butterfly Transformation"? (Note 3)

Chen Chong was thinking, a square-faced man with glasses walked in, and the crowd suddenly started to cheer. Some whistle and some knocked on the table, making the man inexplicable. He stood at the door and looked around, not daring to move.

"Come on, come on, Yan Hao come over and meet him." After the noise became quiet, Shu Qi introduced: "This is Chen Chong, the author who wrote the film review of "Jialifei"."

"Call me Achong."

"Hello, hello." Yan Hao held Chen Chong's hand and said, "Mr. Chen's article is too famous, too famous, and I can't afford it."

"Yan Hao, don't put gilds on your face." Luo Ka smoked and teased: "Your movie is just an introduction to that article. A Chong didn't say you were good at shooting it."

"It is an honor to be an introduction." Yan Hao walked over and patted Luo Ka's shoulder, "Stop talking about me, you have written film reviews for so many years, and you are not as insightful as A Chong's article."

"Yan Hao, you have to treat you!" Cai Jiguang next to him also joked, "A Chong said you are the first wave of the new wave of Hong Kong movies. If we have the opportunity to make movies in the future, we will have to call you senior brother. If you become senior brothers, you have to have a banquet and recognize your younger brother."

"No problem, I'll invite you after the meeting!" Yan Hao agreed generously and agreed immediately.

After a while, the people arrived almost and the symposium officially started.

The meeting first summarized the various achievements and experiences of the establishment of the Hong Kong Film and Culture Center in the past year, which had nothing to do with Shen Chong. He sat aside and listened with relish, and learned a lot of information about the current Hong Kong film industry from the side.

Then there was the drama of Shen Chong. Shu Qi invited him to the rostrum and asked him to talk in detail about the concept of "New Wave of Hong Kong Movies" mentioned in the article.

Later generations summarized the new wave of Hong Kong movies in countless ways, and Chen Chong didn't need manuscripts. He just started to talk about it with the memory in his mind.

"In the 1950s and 1960s, movie masters such as Truffaut and Godard set off a film revolution in France, which was called the "New Wave of French Film", and what I call the new wave comes from..."

"The previous generation of filmmakers, such as Li Hanxiang, Zhang Che, etc., all came from the mainland. Due to the war, a large number of mainlanders came to Hong Kong to avoid chaos. These people are the main consumers in the film market. They have a deep memory and intuitive impression of the customs and people in the mainland. Therefore, the indoor sets produced by Shaw Brothers and the fantasy Chinese-type movies can resonate with the audience, and therefore become the mainstream of the market..."

"Now, locally born babies after World War II have grown up, replacing the previous generation of audiences and becoming the main consumer force in the film market. They lack understanding of the mainland, and secondly, they prefer modern civilization. Therefore, costume movies with indoor sets are symbols of old-fashionedness and do not like to watch. The box office of movies produced by Shaw Brothers is deteriorating, which is a proof..."

"Now, Hong Kong movie narrative ability is extremely weak, and there are only three types of things over and over again, including costume kung fu, gimmick comedy, and erotic romantic style, which cannot meet the viewing needs of the new generation of viewers..."

"The assembly line production system of the large studio and the jianghu workshop-style director system passed down by masters and apprentices can no longer adapt to the new era. The industrial system of Hong Kong films needs to be comprehensively reformed. I believe everyone here will get the opportunity soon..."

"New Wave, what is new? New means abandoning the old stylized production model and rigid theme choices, having independent personality styles, novel and unique creative skills and image language, new film art characteristics, creating more theme choices, and paying attention to new social trends..."

Chen Chong said it over an hour and explained the concept of the New Wave, the current market changes, audience needs, and future development directions. The future film elites here are shiny eyes and excited - if Chen Chong's prediction is correct, they will soon get the opportunity to seize the film production resources controlled by the older generation of directors.

At the end of the speech, the audience stood up and applauded, expressing their respect for Chen Chong.

Although he was dry and satisfied, Chen Chong was very satisfied. This speech was surprisingly effective. The standard bearer of the Hong Kong Film New Wave could not escape the title.

In fact, the New Wave movement is just a passive improvement of the Hong Kong film industry when adapting to the new era. The New Wave participants did not realize the significance and impact of their behavior on Hong Kong films. They were just scattered soldiers and fight each other, without forming a system, and lacking theoretical guidance. Therefore, the New Wave comes quickly and goes quickly, and has limited influence on the entire Chinese film, which is a pity.

When the tide receded, the world turned around and rediscovered the charm and significance of the New Wave. Unfortunately, at that time, the trendsetters of the New Wave had been incorporated by commercial film companies, and their edges were almost worn out.

If Shen Chong can lead this group of people to resist the invasion of commercialization and make the New Wave last longer, more organized and more innovative, perhaps soon, he will become the spiritual leader of a new generation of directors in the Chinese film industry.

Back at the seat, Chen Chong had not calmed down his extreme mood. A middle-aged man next to him came over and asked, "A Chong, where did the historical information and data you mentioned in your speech just now come from?"

Where did it come from?

Of course, "History of Hong Kong Film" redeemed from the system. After redeeming, it is automatically stored in your mind. When needed, it will be opened as long as you meditate. It is very convenient and magical.

"Oh, I saw it from the library of Hong Kong University." Chen Chong said casually. Anyway, there are many books in the university library, and there is no computer retrieval system at this time, so he is not worried about being discovered.

This middle-aged man had a big back and was older, and he looked quite alternative among the group of young people in the conference room. He came with a few people. The conference room was very noisy at that time. When Shu Qi introduced him, Chen Chong didn't hear the name clearly.

"Can you copy a copy of this information for me?" The middle-aged man handed over a note with some information Chen Chong mentioned in his speech just now. He then wrote another note, "This is my contact information."

"Yu Muyun."

Chen Chong was shocked, it turned out to be him.

In 2005, Chen Chong was still in college. He was the moderator of the entertainment version of the campus forum. When the Academy Awards were presented, he did live text broadcasts in the forum. The best movie of that year, the best actor and actress, are now very vague. The only thing I remember is Yu Muyun, who shared the professional spirit award of the Academy Awards with Jackie Chan.

It is very rare for a person who has never made a movie to be on the podium of the Hong Kong Film Awards. Chen Chong went to check his information afterwards and then remembered it.

Yu Muyun was born in 1930 and is almost 50 years old now. He came to Hong Kong in the 1960s. In the era when no one paid attention to the preservation of Hong Kong film materials, he was determined to study the history of Hong Kong films, and spent his whole life to collect and organize film materials, and even raised funds everywhere to purchase important cultural relics. Because of his efforts, a large amount of precious first-hand information of Hong Kong films was preserved. When the Hong Kong Film Archive was established, he donated more than 50,000 copies of his collection and joined the Hong Kong Film Archive with non-academic qualifications to continue to contribute to the collection of Hong Kong film materials.

Yu Muyun has published many large-scale film monographs such as "Eighty Years of Hong Kong Film", "History of Hong Kong Film" (volumes one to five), "Hong Kong Film Anecdotes", etc., with detailed content and rich information, providing a good foundation for Hong Kong film research.

Without history, there is no future. It can be said that Yu Muyun has made great contributions to Hong Kong films and deserves the Academy Award.

Such talent is worthy of respect...

He carefully put away the note and Chen Chong agreed: "No problem. As long as I can find it, I will definitely copy it to you."

"Thank you," Yu Muyunlang smiled and said, "I have collected enough movie materials for more than ten years. I thought I had collected enough. After listening to your speech today, I realized that there are still many omissions."

Chen Chong touched his nose and smiled awkwardly... He just looked through the reference index of "History of Hong Kong Film" in his mind, and the top three were Yu Muyun's monographs.

After the symposium, everyone started to make a fuss, found a food stall, slaughtered Yan Hao, and after eating and drinking, they all scattered birds and beasts and went back to their respective homes.

—————————————————————————————

Note 1: According to "Jackie Chan's Self-Report" and Wu Siyuan's memoirs.

Note 2: Based on the contents of the first issue of "Movie Biweekly", it was perfunctory. Tsui Hark later founded the company "Movie Studio", which is the name of the course when he was taught at the Hong Kong Film Culture Center.

Note 3: According to Ann Hsu's interview, Tsui Hark started filming "Butterfly Transformation" around this time. According to "Wu Siyuan Talks about Ancient", there is a Butterfly Valley in Taiwan, and Tsui Hark once filmed it.
Chapter completed!