In Zhang Haoyan's first solo exhibition, the artist presents the results of his video and painting practice in the past two years around many specific screen images, based on iconography and traceable media communication phenomena. This solo exhibition continues Zhang Haoyan's consistent creative thinking, that is, through the archaeology of multiple classic screen images in different periods around the world, the artist's personal experience, popular culture and the social reality of globalization/de-globalization are mixed together, bringing The own perspective with childhood imprints and the current reality are brought into the multiple environments of screen archaeology, and the re-emergence role is set in the historical and contemporary social cause and effect. As an important information receiving channel in the pre-Internet era, TV screens are different from instant information pop-up windows and information streams. The timeliness and completeness of the screen as a medium are qualitatively different from those in the Internet era. Social reality and the public's cognition, the artist conducts screen archaeology by showing the integrity of the characters, and restores the objects of creation to the social situation of the same period, allowing the viewer to return to the historical scene and allowing the linear The historical content and individual memory of the book can be further expanded and repaired.
As an important part of Zhang Haoyan's personal experience, Altman became the object of his observation of childhood experience and projection of inner thinking: In the 1960s, while Japan was bearing the heavy price of war defeat, it also experienced the separation of church and state. The suspicion and loss of the system, the public urgently needs to rebuild their beliefs and attach themselves to a more universal spiritual sustenance during the general low tide period, and the characters of the Ultraman series were also designed and born by Tsuburaya Eiji against this background. The word "Ott" comes from the transliteration of "Ultra". Since the 1960s, the Japanese men's gymnastics team has dominated the world sports. On the eve of the 1964 Tokyo Olympics, they were eagerly looking forward to winning the championship again. Members of the Japanese Gymnastics Committee rushed to Tadao Uesako immediately put forward the slogan "Ultra C" in the interview, which means the highest level of difficulty, which also added new political intentions to the competitive spirit of sports, which became a general low tide in Japanese society at that time. The strong political propaganda method in the middle of the term, since then the loanword "Ultra" has also been officially written into the Japanese dictionary. After that, the creation around Ultraman gradually expanded into a series of content, and quickly appeared on the screen in the form of fantasy special shots. Its film and television symbols provided an outlet for countless people who urgently needed to reset their beliefs.
By chance and coincidence, the shooting technique of "Phantasy Special Shooting" is a romantic form of expression, and its suture and solution to resist and make up for the technical gap at that time made this new shooting method popular in the industry. With the wide spread of the Ultraman series around the world, the idea of "Utopia" has also been applied in classic thriller and science fiction movies such as "Jaws" and "Alien", which is also unintentional. Pushing film and television production technology to a new stage, even in the current highly developed digital technology, the character modeling and motion capture methods in film and television production still come from the original ideas brought by special photography technology—that is, technologicalism and human Standard coexistence.
Ultraman has a strong avant-garde style in design, and its prototype was designed by Japanese sculptor Tohi Narita. Toru Narita refers to Plato's concept of "Chaos and Order", and simplifies the character image to the utmost to express the simple beauty of the "God of Order". His facial design refers to the classical smile revealed in the sculptures of ancient Greek gods. However, the rapid popularity of Ultraman made people quickly forget its original function as a representative of the "New God-making Movement", and after the 1980s, it became a symbol of East Asian culture and joined Western individual heroism as a superhero Excellent representative of the system. In fact, the original intention of Ultraman's design was never to create a personalized hero. As an alien creature who came to the earth, Ultraman coexisted with people in a way of "mind parasitism". Film and television works The ontology who plays Ultraman in the film is often a member of the national defense agent team, which highlights the concept of "man under the holster", thus making its values different from those of western superheroes who fight alone, showing a certain A collectivist poetics with East Asian characteristics. Contrary to its original intention, this prominent image born in a group was quickly taken over by consumerism because of its prominent visual symbols and communication characteristics, and its iconic head and body also appeared in the popular memory of a generation. A wide variety of fast-moving products.
Coincidentally, after experiencing a series of complex media communication and translation behaviors, the heroic characters in many imported film and television works have been introduced into the vision of China's post-90s generation in the eyes of the eagerly awaited audience, and have become a new generation of screen The star is also subconsciously wearing away the original intention of the role, becoming a heroic elegy with a tragic background after the war and the wave of globalization. Zhang Haoyan's childhood experience and his thinking on this phenomenon are based on a complex and overwhelming social process: the advent of extensive globalization has made him aware of the mass carnival and the The absence of divinity; at the same time, the current trend of anti-globalization has made the initial discussion behind the story clear as if the tide has receded, and it has also made the public calm down again after being baptized by consumerism. In this context, Zhang Haoyan's screen archaeology has always been linked to his childhood memories. After a series of misunderstandings and reproductions, his creations reflect the globalization, cross-cultural and cross-regional communication and development of the post-90s generation. The dislocation faced in the translation, using the media practice of video and painting, expresses its attempt to establish the alienation practice that exists in the common industrialized civilization and aesthetics.
