Luo Yijun (1926-2020)，Chinese Film Theorist、Critics，Once the president of the Chinese Film Review Society、Secretary of the Secretary Office of the Chinese Filmmer Association。Luo Yijun has published many film theory and review articles，Horned in 1973 Horned "American Films in the 1970s"，In 1976, he was the deputy editor of "Film Art"，Later, published "Storm on the Wind" and "Selection of Chinese Film Theory" and other works。

The death of Mr. Luo Yijun，This movie theory that many young people may not know how to criticize everyone's names are re -mentioned。For me，Mr. Luo Yijun is a national theoretical review from the inner worship and admiration。In recent years, because of Mr. Luo’s physical reasons，So he is rarely seen in important theoretical discussions。But at the important academic theory and criticism meeting many times，I have communicated with Mr. Luo Yijun，I have listened to his analysis and criticism of the status quo of Chinese film。Even some time earlier，When I attended the seminar together, I also had the opportunity to travel with Mr. Luo on the same way，A lot of exchanges with him。He is undoubtedly a movie theoretical system that pursues the cultural temperament of the Chinese nation in our hearts、Everyone who is based on realistic creation criticism and advocates art aesthetic independence value，It is also consciously advocating to start from creative reality to summarize film criticism theory and criticism method，Critics who practice actual landing。

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Mr. Luo Yijun is a theoretical criticism with a model of personality。When we start learning film theory，Especially in the research process of the nationalization theory and film criticism of the movie，and several communication with Mr. Luo，It will always be bet365 Play online games attracted by his personality charm，Observe and understand a sharp analysis of Hubei accents with a perception perspective。He is a film and television creation with a keen perspective，Critics who conduct a direct analysis of Chinese film creation。Due to the long -term serving in the Chinese Film Critics Association and the editor -in -chief of the film theoretical publication，He has quite in -depth observation and cognition of the evolution process brought by the changes in the times。As a senior in the academic world，His complex social environment and creative works of image creation，There is a blunt attitude。So，His personality and theoretical point of view，Especially the sharp state of each speech，and not concealed your personality，Let us admire。

Mr. Luo Yijun gives people a sense of personality and spirit。My understanding of him can be summarized from three perspectives: Dull rate、Goodwill、refined to。

Direct rate。Many people also feel that Mr. Luo Yijun speaks straightforward。The so -called straightforward rate includes both straight and not obscure，It also includes stubbornness and not bent。The former refers to his phenomenon of Chinese movies.，Absolutely straight。Read he in detail about the two controversial events in the history of the Golden Rooster Awards will have a deeper experience。The internal awards event disclosed by Mr. Luo Yijun，After the reform and opening up, it has a good movie with pioneering creation，The twists and turns encountered in the historical situation，He has made a detailed and informative restoration，Elaborate your observation and evaluation in this process。These are extremely precious literatures for us to look back at us。The author does not conceal the people and things in the environment he lived in the environment and the environment he lives，and directly show his own cognition，These will allow readers to gain double harvest in terms of ideas and personality。

The so -called straightforward stubbornness of the latter，bet365 Play online games It means that he will never relax the ideas and ideals of his insistence，Including some phenomena and monographs in Chinese film history research。His real understanding of the truth formed by his understanding of history and people，Speaking straightforward。His upright and unsightly dislike expression，We cannot fully judge，He believes that the facts of the research involved in Chinese film history research，Always adhere to the three places again and again，and always put forward his own understanding in the large court。I am very impressive in the 2019 China Film Review Committee's seminar，His hooks about the history of early film history are right and wrong，Still stubbornly propose the truth you think，And these truths are at many seminars，Generally, it is taboo。But I was very impressed at that time，Mr. Luo Yijun also does not seem to cut a high fighting spirit that he has brought to him in the age，He believes that the truth in his mind must be mentioned to more people。This has deepened my impression of a stubborn idea of ​​him。

Goodwill。This refers to his true goodwill for the object of discussion and criticism，instead of showing the strong horizontal。Even his point of view is unique，But all with the goodwill of how to better develop Chinese movies，and constructing a local theoretical system、The goodwill analysis of the national film theory and criticism system，Seeking the willingness to improve healthy exploration and improvement。For example, he made a durable analysis of the creation of shadow。In an article in "Creative Reviews and Freedom"，Talking about art creation and art comments as a personalized spiritual production，In essence, this point of freedom，He mentioned the intuitive perception of his representative works in different periods in commemorating the shaded creation of film artists。He thinks，The prominent feeling is the curve of the quality of the shaded director's works。Based on the curve of the degree bet365 Play online games of intersection of creative and guiding ideology and artistic rule，The creation of the linked director has made a leap progress when "Iron Soldier"，But in "Shanghai Girl", it stagnates and drops。But when he mentioned the historic breakthrough of the later director of "Xi'an Incident"，Give high praise again。In fact，Mr. Luo Yijun is an objective view of this old director。Therefore，He has both regret and criticism，But its intention is to reveal that the creation path that is shaded is actually not only personal creation，It is a side film for the development of Chinese films and twists and times。

Exquisite and sharp。Mr. Luo Yijun is not just a critic，and is a critic of deep theoretical armed forces and sharp language expressions。His awareness of theory is also very deep，Historical grasp and theoretical accumulation，Therefore, the object of his criticism，With his personality is always exquisite and sharp。When it touches a theoretical concept and phenomenon，His analysis always has a personal unique perspective and attitude。In an article about creative comments and freedom，I put forward many alert things for movie creation，He believes that the film creation comments should be given to the maximum freedom，Commonability of reviews and creation can be developed。

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In addition to the critics presentation of the above personality presentation，Mr. Luo Yijun's deepness of national cultural thinking and Chinese film theory is more popular。A series of thinking about Chinese national film and national film theory since the 1980s has always been concerned。Establishing the theory of Chinese national culture and the perspective of film and television theory，Always running through his future criticism discussions。

Vision of the comparison of Chinese and Western culture。What needs to be emphasized is，The starting point of the national film theory and criticism of Mr. Luo Yijun is the Bet365 lotto review understanding of the comparison of Chinese and Western culture。His understanding of the cultural heritage of the movie in the context of the movie，The basis for its profound local construction theory。He is describing the development of Eastern and Western art，and the difference between the imitation theory of the West and the Oriental freezing theory，Borrowing the summary of Japanese aestheticists today，I believe that in the late 19th century and early 20th century，Eastern and Western aesthetic ideological trends generate consensus mutual reversal，As a result，So we must establish a modern Chinese poetry system，And this still has a long and arduous road，But this is a historic subject that must be resolved。His published in 2001 in the paper called "The Strangeness of Culture and the Nationality of Film Poetry" in the Journal of Beijing Film Academy，Used with a considerable length, the differences and commonness of the traditional theoretical of ancient Greece and China。So his point is，Movies as a latest art form，In the art of art, it is the birth of modern science and technology in the West;。From the difference between the difference between the continuation of Chinese movies, etc.，There is your own historical basis。He mentioned，In the 1930s, the outstanding movies in China were not seen by Westerners and were ignored.，And he said that it is difficult for us to understand it ourselves.，This is unreasonable。

Knowing the establishment of local cultural theories in China。Analysis of cultural background based on the theory of East and West Film，He is more intense and clearly put forward the task of establishing Chinese film theory and national filmization theory。In the age of the film's aesthetic consensus reversal of the film,，Different countries will also change different changes。He thinks，In China，Studies in this area are still seriously insufficient。So he proposed to wake up: "If we do not respect our excellent cultural traditions and movie traditions，How can foreigners respect? bet365 Play online games If we cannot study Chinese cultural heritage ourselves ourselves，Summary of Chinese film art experience，and make theoretical improvement and systematic，Is it necessary to invite foreigners to come to replace it? Summarize Chinese film art experience，Gradually establish a Chinese film poetic system，It is a historical responsibility that Chinese film theory workers cannot shirk in 21st century。"The construction of Chinese film ethnic theory has been advocated for a lifetime，and actually，When he is judging the film phenomenon and movie works in different periods of China，It is also adhering to the spirit of Chinese film nation。

The dominant nature in dialectical concepts。In an article advocating the establishment of film ethnicization research，In an article advocating the establishment of film ethnicization research，He mentioned that he had made a speech entitled "Chinese Film Theory Facing the New Century" at the Beijing Film Academy，It is because of the creation of movie，The theoretical results of Chinese films in the 20th century are even worse。Some movie pioneers such as Xia Yan have worked hard in theoretical construction，Chinese film industry has launched a warm argument about some major theoretical issues，But he believes that there is no doctrine that is enough to become a Chinese film theory。Mr. Luo Yijun's knowledge is always dialectical with directional，When he analyzed a "national learning fever" at that time，It is believed that this is a reflection of a culture accompanied by China's rise，It is also associated with the soaring of the Chinese economy and the soaring national strength。But he then mentioned，Although we are committed to film nationalization research, it is not a nationalist，Many essences in traditional Chinese culture need to be developed、Inheritance、Development，It is also necessary to completely remove the dross。

The more he later he advocates the establishment of a Chinese film theoretical system。In 2002, he was in the preface of the "Chinese Film Arts Theory" for Liu Shuliang's "Chinese Bet365 lotto review Film Arts Theory" in the "Chinese Film Arts Contest Theory" in China.，Special mention: The 20th century Chinese film theory is basically the stage of introducing the theory of absorbing western film theory，So in the new century，He hopes that the theory of film should take a difficult task，is to gradually establish a Chinese film theoretical system。I want to，We should do this task。

　(The author is the director of the China Art Education Research Center of Beijing Normal University、II professor)