[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"origin-the-academic-director-reborn-in-the-film-industr":3,"chapter-the-academic-director-reborn-in-the-film-industr-the-academic-director-reborn-in-the-film-industr-chapter-381":6},{"origin":4,"title":5},"chinese","The Academic Director: Reborn in the Film Industry",{"chapter":7,"nextChapterSlug":19,"prevChapterSlug":20,"totalChapters":21,"novelImage":22},{"id":8,"novel_id":9,"title":10,"slug":11,"index":12,"content":13,"wordcount":14,"created_at":15,"updated_at":15,"volume":16,"translator":17,"content_hash":18},2297381,4493,"Chapter 381: An Upset","the-academic-director-reborn-in-the-film-industr-chapter-381",381,"\u003Cp>The competition for this year's Golden Rooster Awards was quite intense, whether for major awards like Best Picture, Best Director, and Best Actor\u002FActress, or for the eight technical categories.\u003C\u002Fp>\n\u003Cp>In the realm of art-house films, there were films of the level of the three major European festivals alone, such as Cao Yang's \"Black Swan,\" Jia Zhangke's \"Still Life,\" and Wang Quanan'an's \"Tuya's Marriage.\"\u003C\u002Fp>\n\u003Cp>Additionally, there were Zhang Yimou's \"Riding Alone for Thousands of Miles,\" Qi Jian's \"The Dog,\" Yin Li's \"The Knot,\" and Zhuang Yu's \"The Teeth of Love.\"\u003C\u002Fp>\n\u003Cp>In the realm of commercial films, there were Zhang Yimou's \"Curse of the Golden Flower,\" Feng Xiaogang's \"The Banquet,\" Chen Kaige's \"The Promise,\" and Daniel Lee's \"A Battle of Wits.\"\u003C\u002Fp>\n\u003Cp>A month ago, when the Golden Rooster Awards nomination list was first released, the media and the audience were full of anticipation for this year's ceremony.\u003C\u002Fp>\n\u003Cp>Both \"Black Swan\" and \"Still Life\" were films that had won the Golden Lion at the Venice Film Festival, and those commercial blockbusters that received technical nominations, regardless of their plots, were at least top-tier in terms of audiovisual effects.\u003C\u002Fp>\n\u003Cp>As usual, the CCTV Movie Channel conducted a live broadcast, with the host still being Ms. Ni.\u003C\u002Fp>\n\u003Cp>Because the Golden Rooster Awards had changed its award structure, the order of the ceremony was also adjusted accordingly.\u003C\u002Fp>\n\u003Cp>Awards that the media and audience had less expectation for or paid less attention to, such as Best Children's Film, Best Documentary, Best Science and Education Film, and Best Digital Film, were not placed at the very beginning but were interspersed with other awards.\u003C\u002Fp>\n\u003Cp>When the reform of the Golden Rooster Awards was being planned, Old Hou once asked Cao Yang if these less-watched categories should be removed, but Cao Yang considered it and decided to keep them.\u003C\u002Fp>\n\u003Cp>It was not that the reformed Golden Rooster Awards were pursuing being \"high, grand, and comprehensive.\"\u003C\u002Fp>\n\u003Cp>Rather, these categories were also a component of domestic cinema, and keeping them was very meaningful; even the Oscars had categories like Best Animated Feature, Best Live Action Short Film, and Best Documentary.\u003C\u002Fp>\n\u003Cp>The general order of the ceremony was to save the biggest awards for last and intersperse the others; only by presenting them this way could they attract the audience in front of the television, which meant ratings.\u003C\u002Fp>\n\u003Cp>Otherwise, if the unimportant ones were presented first and the major awards last, it was very likely that the audience would switch channels and only watch when the major awards finally arrived.\u003C\u002Fp>\n\u003Cp>Interspersing them, however, avoided this concern.\u003C\u002Fp>\n\u003Cp>The order Cao Yang set for the Golden Rooster Awards was that the biggest awards would be presented last—this remained unchanged—while the order of the other awards varied each year.\u003C\u002Fp>\n\u003Cp>Of course, the ultimate goal of doing this was still for the sake of ratings; higher ratings could increase the revenue of the Golden Rooster Awards in various aspects.\u003C\u002Fp>\n\u003Cp>This time, they started off by presenting a relatively important award: Best Cinematography.\u003C\u002Fp>\n\u003Cp>There were five nominated films: \"The Banquet,\" \"The Knot,\" \"Curse of the Golden Flower,\" \"Black Swan,\" and \"The Promise.\"\u003C\u002Fp>\n\u003Cp>The reason \"Black Swan\" was able to get a nomination for Best Cinematography was because it had many unique compositions and camera movements, such as the extensive use of mirrors and reflective surfaces, the use of various angles, and handheld tracking shots to create anxiety.\u003C\u002Fp>\n\u003Cp>Cao Yang had thought this award would go to one of \"Curse of the Golden Flower,\" \"The Banquet,\" or \"The Promise,\" but the result was a bit beyond his expectations—it actually went to \"Black Swan.\"\u003C\u002Fp>\n\u003Cp>Gu Changwei looked calm and unruffled, not particularly excited, as if he had expected it all along.\u003C\u002Fp>\n\u003Cp>On the contrary, his wife Jiang Wenli looked very excited and hugged Gu Changwei directly, as if to declare her sovereignty, afraid that others wouldn't know she was his wife.\u003C\u002Fp>\n\u003Cp>Cao Yang thought about it; \"Black Swan\" winning Best Cinematography was not really an upset, as this film indeed had unique aspects in its camera work.\u003C\u002Fp>\n\u003Cp>On the other hand, those three commercial blockbusters did have very exquisite costumes, makeup, and props, and their visual effects were considered very good for the time, but these had nothing to do with camera work; those three films did not use very special camera techniques.\u003C\u002Fp>\n\u003Cp>If \"Black Swan\" had defeated those three blockbusters in costumes, makeup, and props, it would indeed have been an upset, but in terms of Best Cinematography, it really wasn't; no wonder Gu Changwei had an expression of having expected it long ago.\u003C\u002Fp>\n\u003Cp>The second award presented was also considered an important one: Best Supporting Actress.\u003C\u002Fp>\n\u003Cp>The competition for this award was also very intense, featuring Lu Yi from \"Black Swan,\" Zhou Xun from \"The Banquet,\" Song Jia from \"Curiosity Kills the Cat,\" and Jiang Yiyan from \"The Knot.\"\u003C\u002Fp>\n\u003Cp>According to the plot, Jiang Yiyan was considered the female lead in \"The Knot,\" but the production team had submitted her for Best Supporting Actress.\u003C\u002Fp>\n\u003Cp>Among these four, Zhou Xun and Jiang Yiyan were two of the four major young actresses and were very famous; Lu Yi was barely considered a \"Cao Girl\" and had shown a clear upward trend in the last two years; only Song Jia had the least fame.\u003C\u002Fp>\n\u003Cp>As it turned out, this award was an upset, with Song Jia winning Best Supporting Actress for her performance in \"Curiosity Kills the Cat.\"\u003C\u002Fp>\n\u003Cp>When the result was announced, among the four people on the big screen, it was clearly visible that Jiang Yiyan's smile was somewhat forced and bitter, unable to hide her disappointment.\u003C\u002Fp>\n\u003Cp>Cao Yang understood after a moment of thought.\u003C\u002Fp>\n\u003Cp>Among this year's Golden Rooster Awards, if one were to talk about what had the least suspense, it wasn't Best Director or Best Picture—the fact that there were two Venice Golden Lion-winning films at this year's Golden Rooster Awards left suspense for Best Director and Best Picture.\u003C\u002Fp>\n\u003Cp>The one with the least suspense was probably Best Actress.\u003C\u002Fp>\n\u003Cp>In the competition for Best Actress, Dong Xuan was able to win the Venice Best Actress award for \"Black Swan,\" and anyone who had seen the film would have no doubts about her acting skills.\u003C\u002Fp>\n\u003Cp>The production team must have known this, so they intended to be clever and submit Jiang Yiyan for Best Supporting Actress.\u003C\u002Fp>\n\u003Cp>However, it was justifiable; the top-billed female lead of \"The Knot\" was ostensibly Rene Liu from Taiwan.\u003C\u002Fp>\n\u003Cp>Unfortunately, even with the clever move, Jiang Yiyan still failed to compete against Song Jia, who was much less famous than her; no wonder she was so disappointed.\u003C\u002Fp>\n\u003Cp>The first two awards were not minor ones; this was to attract the audience to watch.\u003C\u002Fp>\n\u003Cp>Feng Xiaogang looked serious—well, rather than serious, it would be better to say his face was tense.\u003C\u002Fp>\n\u003Cp>He had originally thought that the Golden Rooster Awards reform, which added so many technical categories, was the day for him to reconcile with the Golden Rooster Awards—he had been constantly showing goodwill to the Golden Rooster Awards before the nomination list was released.\u003C\u002Fp>\n\u003Cp>Feng Xiaogang said that what he had said about the Golden Rooster Awards in the past was not directed at the Golden Rooster Awards, that the media had misinterpreted his meaning, and that some people were afraid the world wouldn't be in chaos and were maliciously slandering him.\u003C\u002Fp>\n\u003Cp>He also said he had always respected the Golden Rooster Awards, that the Golden Rooster Awards were one of the most important awards in the country, and that they were the awards every filmmaker yearned for...\u003C\u002Fp>\n\u003Cp>Later, when the nomination list was announced, \"The Banquet\" received five nominations, and they were not just technical categories; among them was a nomination for Best Supporting Actress, as well as a major award with significant weight like Best Cinematography.\u003C\u002Fp>\n\u003Cp>This made Feng Xiaogang overjoyed, and he called Cao Yang immediately to express his gratitude.\u003C\u002Fp>\n\u003Cp>As one of the few top directors in the country, he knew at the time the role Cao Yang played in this Golden Rooster Awards reform.\u003C\u002Fp>\n\u003Cp>When the first award, Best Cinematography, was given to \"Black Swan,\" although Feng Xiaogang felt a bit regretful, he indeed hadn't played any tricks with the camera, so it didn't matter if he didn't win it.\u003C\u002Fp>\n\u003Cp>But when the second award, Best Supporting Actress, was also not won, Feng Xiaogang couldn't hold it together anymore.\u003C\u002Fp>\n\u003Cp>Regardless of controversies in other areas, Zhou Xun's acting was very inspired; Feng Xiaogang even felt that, at least in \"The Banquet,\" Zhou Xun's performance was not inferior to the female lead, Li Xiaoran.\u003C\u002Fp>\n\u003Cp>Feng Xiaogang had placed great expectations on Zhou Xun.\u003C\u002Fp>\n\u003Cp>Who would have thought that she would actually lose to Song Jia, who had little fame.\u003C\u002Fp>\n\u003Cp>Finally, when the Best Costume Design award was presented and \"The Banquet\" lost to \"Curse of the Golden Flower,\" Feng Xiaogang could no longer hold it together, and the disappointment in his heart was immense.\u003C\u002Fp>\n\u003Cp>Furthermore, he began to curse the judges in his heart for being blind, curse the Golden Rooster Awards for still refusing to let him off, and curse that damn Cao Yang for not helping him... In short, he went from looking serious to having a sour face.\u003C\u002Fp>",1532,"2026-06-20T05:36:33.260Z",1,"Gemini 3.1 Flash Lite","811d6024cc81acc1dfde1d88528ac1762fe240722749a9e7cce59f0ffffbadce","the-academic-director-reborn-in-the-film-industr-chapter-382","the-academic-director-reborn-in-the-film-industr-chapter-380",411,"https:\u002F\u002Fnovelzhen.com\u002Fimages\u002Fcovers\u002Fthe-academic-director-reborn-in-the-film-industr-cover.jpg"]