On January 20, the TV series "Moving Forward" has been launched on the iQiyi TV Drama Channel. This TV series premiered on Shandong Radio and Television Station's Qilu Channel in 2020 and received very good ratings statistics. As a result, the drama won the annual "Ratings Ace Award" issued by Qilu Channel. Because of the strong ratings of the terrestrial channel, this anti-Japanese TV series has been seeking to be broadcast on star TV. However, it did not work. This time, the drama was launched on the iQiyi TV Drama Channel in one go, which is considered to be an official abandonment of the opportunity to broadcast on the star and switch to the genuine video platform.
What's worth noting about "Moving Forward" is that it has a very good rating on the terrestrial channel. Although the annual "Ratings Ace Award" of Qilu Channel can only represent the ratings of a terrestrial channel, the audience popularity of this TV series in a small range can still be seen. Still that sentence, in fact, many of the current anti-Japanese theme TV drama works, because of the fierce contradictions and conflicts, the audience empathy value is high, but the broadcast effect is very good.
A more typical example, Tianjin Satellite TV is broadcasting the TV series "Ding DaFeng", which is also a similar theme, and the results on some dehydrated rating platforms have been very dazzling, once becoming the second place in the TV drama works being broadcast by Satellite TV. If an anti-Japanese TV series like "Forge Ahead" is broadcast on the stars, I think it may have better ratings than works such as "Ace Troops".
When it comes to the theme of anti-Japanese resistance, there are always viewers who preconceived notion that it must be an anti-Japanese drama. Other anti-Japanese dramas, Bao Buqi is an anti-Japanese drama, but this "Courageous Forward", I think, it uses a more traditional novel narrative principle, presents a TV drama adapted from real historical events, in the anti-Japanese content, there is no fiction, and it is more real, therefore, it can not be simply classified as the sequence of anti-Japanese drama. We should justify some of the more good anti-Japanese TV dramas.
In the show, a more traditional novel narrative style is adopted, starting from a story of greeting relatives, and the multi-party forces are fully presented through a slightly more time of an episode. This sense of rapid narrative rhythm is one of the most important reasons why the show can gain the popularity of terrestrial channel audiences. In other words, the entire character unfolds, all in the fierce contradiction and conflict, and the audience sees the stirring story content. This is a return to the story attributes of the TV series.
The male protagonist greeted his relatives and picked up his bride, but he encountered bandits on the mountain. It turned out that the bandit leader was the bride's brother-in-law, who had always been worried about his sister, but he had no feelings for this brother. Between the master brother, the master sister and the male protagonist, a story of enmity between the rural landlord and the bandits on the mountain unfolded. This narrative thread, which comes first, can give the audience a familiar feeling.
This was followed by a confrontation between the two landlord forces within the village. This situation of two landlords in one village can also be seen in works such as "White Deer Plain". Even in the "Hometown" series of novels by teacher Liu Zhenyun, it is also pitched. That's why I say that this SHANDONG ANTI-Japanese TV drama work borrows a lot from the narrative brushwork of traditional classic novels. In particular, the struggle between the two landlords in a village makes this TV series have a very good local texture.
At the same time, in the background of the times, the Japanese Kou has occupied Jinan and is about to march to Tai'an, and this small village is next to Tai'an City. Against this background, the Nationalist army is routing, the Japanese are attacking, and the workers of our Party are organizing guerrilla groups to persist in a protracted war against the Japanese. The forces of our Party, the Nationalist Army, and the Japanese and The Kosovars are intertwined, and they appear in their own ways in this small village. This kind of convergence of various combat effectiveness makes this "Courageous Forward" very exciting. It is worth noting that Shandong writer Mo Yan's "Fat Buttocks" is also a similar story.
Of course, the final plot direction of this "Courageous Forward" is that the righteous forces in the villages, and even the righteous forces among the bandits, have finally followed our party's army and embarked on the correct path of fighting against Japan. In this TV series, the audience can see the high fighting feelings and see the characters who are alive and well. In fact, from Mo Yan's "Red Sorghum" and other works, readers and audiences can feel this exuberant vitality. This TV series "Courageous Forward", in terms of character shaping, borrows a lot from the brushwork of traditional classic novels.
Why do I say that this TV series is not an anti-Japanese drama? Because in "Moving Forward", the fighting ability of the Japanese Kou is not farshed, on the contrary, the play respects the Japanese Kou's fighting ability very much. At the beginning of the play, two Japanese Kou can stir up a bandit's cottage and kill many bandits. In the face of such a powerful Japanese-Kosovar single-soldier operation, shandong's anti-Japanese forces did face a fierce enemy. Of course, the stronger the enemy, the more able to set off our tenacity. Respecting the fighting ability of the Japanese Kou is also the greatest respect for our own combat ability. Based on this, I think that this "Courage Forward" belongs to the wonderful anti-Japanese theme TV series that has been overlooked. (Text/Ma Qingyun)