May I ask the personal profile of Director Tsui Hark?

Tsui Hark, formerly known as Xu Wenguang, was born in Guangdong in 195 1 and moved to Hong Kong in 1966, where he completed his secondary and university education. 1977, Tsui Hark returned to Hong Kong to join radio and television stations as a director and produced dramas such as Family Change and Tycoon (in contrast, Xu Anhua was mainly involved in the production of realistic TV programs at that time). The following year, he switched to Harvest, which attracted attention with the martial arts drama Love of the Golden Dagger, especially by the independent filmmaker Wu Siyuan at that time, which also became an opportunity for Tsui Hark to enter the film industry.

From 65438 to 0979, Tsui Hark directed the martial arts film Butterfly Change. This futuristic martial arts film set in the "Wulin New Era" is quite different from the popular martial arts films of Shaw or Jiahe at that time, and has also been praised by many film critics as the masterpiece of the new wave of Hong Kong movies. Hu Jinquan's classic works are used for reference in many places in Butterfly Change, and the story mainly revolves around a tunpu, which is also the space repeatedly displayed by Hu Jinquan in Woman and Legend of Mountain Residence. The narrative clue is the literati (the narrative of Butterfly Change is somewhat chaotic), which is also the consistency of Hu Jinquan's Woman, Legend of Mountain Residence, Empty Mountain and Spiritual Rain. However, it has improved in shooting techniques, character modeling and film style, and even subverted traditional martial arts films. As commentator Zhao Weifang said, "Butterfly Change" embodies Tsui Hark's subversion of traditional martial arts films in many places. He boldly used bright colors in the scene design, used the advanced technology at that time to shoot the fantasy scene of butterfly killing, and moved the popular heavy metal comics into the martial arts world of China. Some characters are characterized by Japanese ninjas and western gunmen. There are even cowboy knights and armed killers, which have never appeared in traditional Hong Kong martial arts films before, and are full of avantgarde and subversion "(the first issue of Contemporary Film in 2007). After Butterfly Change, Tsui Hark went on to direct the films Hell is No Gate and The First Danger, and walked in the forefront of the new wave with subversive and avant-garde narrative and style.

After joining the New Art City established in the early 1980s, Tsui Hark gradually reduced his subversion of film style and devoted himself to the mainstream film tide. But he can often shoot new ideas in these mainstream waves, making him a trendsetter of the times. Ghost horse knows many stars. I love cordate telosma, which is a fusion of traditional musicals and detective films, and even a love story of North African spy. The new biography of the swordsman in Shushan is adapted from the original novel of Zhu Huan landlord, but it also incorporates the characteristics of Star Wars series, and the true colors of heroes have also started a wave of heroic films. More importantly, the martial arts films he directed or supervised, such as the legendary swordsman (), Xinlongmen Inn (), Huang Feihong Series and Swordsman 2 Dong Fangbubai, almost became synonymous with the martial arts film craze at that time, leading a generation of coquettish.

In an interview, Tsui Hark once said that one of his tricks in filming is to "sing old songs and explore new ideas in ancient themes, so as to create a voice that is * * * with modern audiences. For example, the four characters in "Green Snake ()" are "specious with the images remembered by many people, and their interests are born accordingly". In fact, most of his works are adapted from the original literature (not necessarily a single literary work). Butterfly Change is adapted from Zibo's novel and japanese mystery's Eight Graveyards, while Xinlongmen Inn and Knife remake the classic works of He, such as Longmen Inn, One-armed Knife, the legendary swordsman and Swordsman 2 respectively. "butterfly lovers ()" originated from folklore handed down from generation to generation, and even the cartoon "Xiao Gan" adapted itself on the basis of ghost stories ... Tsui Hark was not satisfied with the simple adaptation, but incorporated the characteristics of the times in the adaptation process (which will be discussed in detail later), making it easier for the audience to produce * * * songs while being refreshing.

The works directed or supervised by Tsui Hark are very large. Although the quality was uneven, many of them represented a certain direction of Hong Kong films at that time, which made him the leader of Hong Kong film trends.