Pei Donna and Kong You's new Netflix drama "Silent Sea" will start tomorrow.
This is a sci-fi suspense drama about 2075, the protagonist went to the moon to fall into outer space because of a mission to save the earth.
Regardless of the story, the first two days of the stills were exposed, and the comments were killed by Pei Jie's face.
Indeed, just one side of the face can also feel the emotional and dramatic tension in the eyes.
Also in these two days, as one of the few Zhixiu in the Aidou echelon who is considered to have an "actor's face", the first drama "Snowdrop Flower" that officially opened his acting career in cooperation with Ding Haiyin was scolded by Korean netizens to the top of the hot search.
The concept of love bean face and actor face has long been chewed in waves of aesthetic discussions, leaving only slag, turning over and over again is nothing more than flesh and bone fit, facial detail, sense of atmosphere around the body, and so on.
Shu feels that this kind of stamped and stamped definition and distinction stays more on the surface, and the aesthetic difference that guides this aesthetic difference is not only the people hidden under the skin, but also the aesthetic tendency formed by people in the cultural environment in which they are located.
It is generally believed that Jennie in the BLACKPINK team typically loves bean faces, and Jisoo is more of an actor's face
Why are Koreans so divided in their aesthetic standards for aidou and actresses?
This is a very exploratory and overlooked part of our understanding of Korean aesthetics, and today we will return to the most authentic level of a play to talk about what is behind the characters.
01
Source of Korean aesthetic internal force
The aesthetics of a nation depend on the cultural roots of that nation.
South Korea, on the other hand, is a country without roots.
Before modern times, it was stable under the protection of the Chinese suzerainty. Confucianism, which came from Chinese mainland, was once the ruling ideology of the peninsula's feudal dynasty and was enforced like an iron fist.
The influence of Zhuzi Confucianism on the Korean nation is even more thorough and far-reaching than that of China, the native land of the neighboring continent, and the culture of filial piety and the system of hierarchical dignity and inferiority are deeply engraved in the bones of Koreans.
Sungkyunkwan in The Seongkyunkwan Scandal was also the official educational institution that promoted Confucianism during the Joseon Dynasty
After the modern westward march, with the ming dynasty's imperial secretary Xu Jun was baptized as the first Catholic on the Korean Peninsula, and over the next hundred years, Christianity gradually took root in Korea.
Yes, it's the old friend Xu Jun in "You from the Stars"
As the most prevalent Christian country in Asia, seoul, the capital of nightfall, is lined with red crosses, and the whole city looks like a giant cemetery.
South Korea's fanaticism for Bu Gua can more or less reflect the uncertainty of this nation's own destiny and the lack of security.
Confucianism, taken from China, and Christianity imported from the West collided on the peninsula, thus forming a contradictory background of Korean culture.
Looking back at the Korean movies in 2021, Lee Mao-yi's "Zishan Fish Recipe" is one that must be mentioned.
This film, which won the prize, tells the story of Ding Ruoquan, a biologist during the Joseon Dynasty, who wrote the book "Zishan Fish Recipe" that records fish during his exile at Zishan, and also tells the story of how a person's faith is broken with reality, ideals, and self.
In the movie, Ding Ruoquan can apostasy in order to survive, he believes in Confucius and also believes in Jesus, but what he finally believes is actually the insistence of his heart that "although the life of a white crane is good, and the mud of Zishan is also good".
How is the Korean aesthetic internal force formed by Confucianism and Christ symbiosis, East and West, and the interaction between East and West projected on Aidou and actors?
02
The female aesthetic torn under the contradictory aesthetic power
1. The Discipline of Confucianism restrains aesthetics + highly mature entertainment industry, leading to the fanatical deformity of the love bean aesthetic
Every year, the Korea International Cultural Exchange Promotion Institute publishes the "Hallyu White Paper", a research report on the annual global Hallyu trend, which includes music, Korean dramas, Korean movies, singers, actors, Korean comics and other categories.
The entertainment industry in South Korea has been elevated to the height of national strategy attention.
In the highly mature star-making industry, the commodity attribute of Aidou surpasses the individual attribute of being a human being.
They are more like assembly line goods that are designed and packaged than living people who have flesh and blood love and hate, know cold and hot and bitter.
S.E.S., a generation girl group that debuted in 1997, has been disbanded by this year
The duty of the commodity is to bring pleasure to the owner, to create and maintain illusions, to tear open the layer of sugar-coated wrapping paper, more bluntly, to flatter the people justly.
In order to maintain the aura of idols, Aidou was required by the agency to undergo plastic surgery injections and extreme dieting. The slap face, the ant waist, the chopstick legs, and the plump breasts that do not match the slender limbs, all set off towards the visual impact that can bring direct sensory stimulation, towards the limit of the human body's tolerance.
But at the same time, they cannot escape the patriarchal gaze of traditional Confucianism.
On the one hand, he wants her to be sexy and hot on the stage, and on the other hand, he wants her to be a saint in life.
While fanatically obsessing over the unattainable throne, everyone can step on it and spit on it.
The pleasing beauty of specific angles, fixed camera positions, and long-term mechanical training is inevitably at the end of the chain of contempt in a society where men are inferior and inferior.
And when the commodity shows its unexpected self, it is followed by the fate of drowning in public opinion.
2. The aesthetic of Christ's suffering and degeneration + the geographical and human conditions of Korea, which leads to the aesthetics of the actors who are twisted and twisted
Geopolitical and colonial history, the church became the birthplace of the Korean national movement.
But Christianity in Korea does not highlight the sense of power of justification by faith, as in Western societies, but rather shapes the aesthetic tendency of suffering and degeneration.
Enduring mortal suffering and waiting for the redemption of heaven, Christianity is the last straw that the dying and desperate people grasp. It's just that everyone has original sin, but everyone is not equal.
In Park Chan-wook's "Kind Of Gold", Christianity is ridiculed
The christ symbol in Korean films has no meaning of redemption and tranquility, but is more like a tool to present the director's thinking about society and life.
In Li Cangdong's Mints and Miyang, Christ does not bring peace to the traumatized or cleanse the defiled soul.
As Li Cangdong talks about himself, he does not believe in any religion, but is a religious person, because he firmly believes that the pain experienced in life is meaningful.
This depraved aesthetic further influenced the aesthetics of Korean actors.
Within the actors, there is also a distinction between aesthetics:
Beautiful and unsculturable faces and unbeautiful but suffering faces.
This face can not be delicate, but it must be the texture of the actor. What is the texture of an actor?
It is a face of patience, a face of edge, a face of depravity, a face of rebellion, a face saturated with hatred and despair, a face that longs to get rid of restraint but sinks in desire.
Kim Ki-duk's "Drifting Desire Room", the mute girl Hee-jin
Kim Ki-duk in "The Samaritan Girl", who betrays the body of Lean and Jie Rong
Park Chan-wook "Kindness of Gold", the gold of revenge
This is truly a twisted and contradictory nation.
Under the root consciousness of patriarchal society, society's expectations for women are simple and virtuous after discipline, but under the inferiority and sensitive national psychology, the faces of actors who can carry their national expectations are always rebellious and rebellious.
The word screw-up may not be enough to express the aesthetic psychology of this nation, whose internal strength is confused and struggling, and there is a pride in their bones that has been destroyed and expanded.
03
Aesthetic reflection
Whether it is the Korean wave or The Korean film, they are continuing to export influence on Chinese aesthetics.
After watching "Zishan Fish Recipe", many people will sigh that a work that discusses the internal force of Confucianism during birth and accession to the world was first filmed by South Korea instead of China.
Uncle feels pity, it is a pity not that we do not have the ability to create this kind of work, but that we are fully equipped, but have no intention of it.
We have accumulated cultural wealth over thousands of years, but our respect for culture lacks the painful introspection and consistent piety of repeated chewing on the heavy past.
So you see, Li Maoyi, who filmed a first-class historical drama, filmed "Si Mourning" in which fathers and sons of the monarch's family killed each other, and also filmed "Suyuan", which was strong after the pain, and knew how to reflect on history in self-examination, and also knew how to torture reality.
As for how to deal with the influence of Korean aesthetics, Shu thought, what we have to do is not to cover our eyes and block our ears and resist angry or disdainful of escape, but to face upwards, to analyze, to catch up, to take its essence and remove its dross.
South Korea's tearing aesthetic of women reflects the shadow of Korean society, so how do we examine the women who treat us? How to excavate and show their beauty and vitality?
Our actresses, wild, determined, passionate, somber, full of upward wet tension, their beauty is no less than that of the beauties of any other region.
Today, the aesthetic fault line, do not let their beauty be dusted.