Do you remember the classic IP of the female group portrait, "Tokyo Women's Illustrated Book"?
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Yes, another remake -
"Taipei Women's Guide", the protagonist is still temperament actress Gui Lunmei.
Gui Lun magnesium + "Women's Illustrated Book", what kind of fairy match is this?
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However, after finishing the four episodes in one go, her sister still turned to relive the original.
How to say it?
Gui Lunmagnesium is very beautiful, the picture is very literary and artistic, and the narrative is not suspended by dog blood.
But what is the need for such a female story to exist except for the face of Gui Lun?
Today her sister wants to use this "Taipei Women's Guide" to talk about the core problem of filming the "Guide" series in China for so many years.
Love is not the flaunt of a successful heroine
The most embarrassing context of "Taipei Women's Guide" is the four dispensable relationships of the heroine Lin Yishan.
The play reached the fourth episode, and the heroine Lin Yishan talked about four romances.
The first paragraph is a noodle shop owner who meets in Weishi.
In the second paragraph, it is a scumbag who taught her work skills.
The third paragraph is a fleeting cannon-friendly romance.
The fourth paragraph is an office love affair with his boss.
Four romances, think about it, in addition to proving that the heroine plays well in the big city, has a drinking game at night, and has someone to sleep every day.
In fact, there is no intrinsic connection with the heroine's life context.
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Obviously, "Taipei Women's Guide" has committed a problem that women's dramas have always been unwilling to understand, that is-
Why do you have to add a love element to writing about women?
What is the real function of marriage scenes for a female drama?
Of course, every women's drama gives a different answer, just as for different women, marriage plays a different role in their lives.
But without thinking of the answer clearly, adding a few flowery love obsessive-compulsive to the heroine's growth line will only make people doubt the barrenness and narrowness of the creator -
Isn't it impossible to flaunt the life experience of a woman in a metropolis without writing about countless men?
In the Tokyo Women's Illustrated Book, the base book of the Illustrated Series, the answer to this question is very clear.
Aya's several loves are related to everything, but only to love.
Marriage is a kind of identification for the heroine Aya Saito.
In a metropolis that drowns in crowds if you're not careful, men and women have no time to talk, eager to find a partner who can become their medal, eager to prove their presence.
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In the materialistic Tokyo depicted in "Tokyo Women's Guide", a professional woman is not only satisfied with the sense of value that her career brings her.
Finding a boyfriend with a job, family, and financial resources higher than oneself is also a kind of medal that can add to the value and resources.
And glamorous work is a springboard to meet the elites of trading companies and the rich second generation, and the two are cause and effect of each other.
Of course, this is closely related to the reality that Japan regards sex as a woman's career and takes women's attachment to men for granted.
Therefore, women in the Tokyo workplace are divided into "strong women" and "mixed life marriage factions" who despise each other and are self-superior.
While tacitly participating in the same friendship, snatching the same quality man on the social field.
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Of course, Aya's several marriages are still exploring another proposition in the end.
Men, it is she who understands Tokyo, the typical patriarchal capitalist society, the index of the positioning of women.
When Aya meets a rich second-generation boyfriend Takayuki who grew up in Ebisu, he is suddenly disconnected on her birthday.
Aya unwillingly ran to the other party's apartment, but on the other side of the video doorbell where no one responded, Takayuki's fiancée said to him with a smile on her face: "She is your cleaver?" ”
Then the two embraced happily.
It's a very weird scene.
Being abandoned by the rich second generation made Aya begin to doubt her worth as a woman - she is a person who lives in the eyes of the outside world, and she must clearly understand the standards of these eyes.
So she asked a man, what kind of woman would a man choose?
The man replied: A woman who has nothing.
A woman who has no ideals, no dreams, and will unconditionally support men's dreams.
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Takayuki's fiancée is known as a "professional girlfriend" in society.
Most of them have good looks, good origins, attend women's universities, bear the title of young artists and models, and take marrying the social elite as the ultimate goal in life.
Therefore, they have no requirements for the man's emotional loyalty, typical "it's okay to go out to play, just know to go home".
A professional girlfriend is the "ideal partner" tailored to successful men in patriarchal society.
And such couples will even evolve into a situation of playing their own games in middle age and become "masked couples".
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Women gain economic security and identity through marriage, and men gain social credibility and success badges through marriage.
Marriage and love in the eyes of men and women are disciplined by their respective genders and divided into two contexts that can never meet.
In a city of Sex and the West, men and women maintain the most intimate and strangest relationships, trusting each other and distrusting each other.
The man Aya experienced in "Tokyo Women's Guide" is not the flaunt of her wonderful life.
Rather, it is a reference for a woman to gradually recognize her position in a society of fame and fortune.
When we look at the Illustrated Book, what are we looking at
When a female drama begins to flaunt the wonderfulness of the heroine, it is no longer a "picture book", but a kind of personal biography.
"Taipei Women's Guide" is actually more suitable for calling "Lin Yishan's Promotion".
The subtle difference between the two is also vividly reflected in the plot of the heroine's job-hopping.
The motivation for Lin Yishan, the heroine of the Taiwan version of "Picture Book", is set at the end of her fourth relationship.
Because the boss's boyfriend Alan is a control freak, not only has a tough style in public affairs, but even proposes to forcibly put the wedding ring on your finger.
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This relationship made Lin Yishan realize that she didn't want to be a soft little woman, so she broke up, quit naked, and changed careers.
Abandon a high-paying and cultivated industry for many years, and even refuse ready-made jobs handed over by their former bosses.
She shouted out the declaration:
I'm going to step out of my comfort zone, I'm going to prove myself, I'm going to be on my own, I'm going to start over.
What a solitary gesture, what a subjective consciousness beyond the environment.
But this kind of solitary courage and subjectivity is seriously contrary to the female group portrait of "Picture Book".
Because the picture book shows a group portrait in the real environment, not this kind of individual heroism that is divorced from the real environment.
Ayako of "Tokyo Women's Guide", the job-hopping plot is also after she broke up with her rich boyfriend.
However, the motivations of the two are very different.
Takayuki and his "professional girlfriend" got engaged and abandoned Ayako, who is equivalent to being denied the value of marriage by the upper circles, but she didn't have time to think about this problem, and another crisis appeared in front of her -
After the age of 30, the chance of a job-hopping salary increase is almost zero.
Ayako, who is nearly 30 years old, is forced to run.
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In addition, after breaking up with her rich boyfriend Takayasuki, in order to maintain her previous quality of life, she must find a job with a higher salary.
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Reality and desire push Ayako forward like a duck, and Ayako has never been a heroine with "subjectivity".
When she was a child, Ayako's dream was "I want to have what others have."
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Growing up, Ayako confirmed her ultimate goal in life.
"To be an enviable person".
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Her standard of self-identification has always been external rather than internal, and to put it bluntly, vanity.
Many people say that "Tokyo Women's Guide" is about desire.
This desire is more accurately named, not materialism, but identity.
Growing up, Aya Saito has been pursuing an ultimate identity.
Every time she enters a new circle, every time she enters a new stage, she strives to reach a new identity.
When she was 20+, she had a boyfriend who lived in a neighborhood of Tokyo like herself, and lived a simple and happy little life.
But when she found out that the girls of the same period were carefully dressed up after work and formed teams to socialize with the social elite, she did not hesitate to dump her boyfriend and join the staggered social field.
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When she was 30+, had a successful career and was interviewed by a women's magazine, she thought of showing off in front of her female friends, but found that the standards of their identity had long changed.
Not than whose job is glamorous and whose salary is higher, but to begin to be cuter than whose baby.
Without children, you can't fit into their discourse.
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In order to gain this identity, Aya immediately registered a marriage agency and made marriage a top priority.
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Aya has always been a woman who is wrapped up in the culture and social discipline of the circle, which seems very sad, but this pathos does not make the audience hate, because each of us has more or less a Aya living in our hearts.
The desire to be recognized by society and the recognition of the circle is an unavoidable need of human beings as social animals.
It's just that Ayako, the heroine, chases this demand more than anyone.
Look at Lin Yishan in turn.
She has never had a career crisis, an age crisis, and she has never been anxious about the fluctuations and declines of her quality of life.
Where is she like a girl who came to the metropolis in a small place?
Her sense of security for survival is too strong, and girls from small places will not play high-cost games such as active zeroing to prove themselves.
She is a heroine of personal heroism who lives in a vacuum.
And such a heroine, how can she get the social observation attribute of the city guide?
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Women are a social product
There is a contradiction in sociology, called the contradiction between subject and structure.
The more we emphasize the agency, the more we will be exonerated for structural problems.
To put it crudely, the subject is the individual, and the structure is the environment.
The Illustrated Series is not an anthem for successful women.
As a classic women's group portrait drama, its focus is on dissecting the structure, not the subject.
It writes about people in the environment, not about some sober heroine.
That's why "Picture Book" needs a vain and greedy heroine like Ayako.
Because it is precisely a heroine who unconditionally agrees with social rules, the audience can look at this group of women in this metropolis full of desire and living in a crisis of social recognition through her eyes.
To understand their ignorance, to empathize with their comparisons, to taste their meanness.
Understand that they are a group of unwilling women who want to get a better life by pandering to the rules and gain higher social recognition in an unfair social environment.
In this city, there are mistresses who constantly become superiors for their own superiority.
As a result, the peach news ruined the working women who lost their careers.
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There are "professional girlfriends" who have worked hard to "marry" since birth.
It wasn't until he married a rich man that he suddenly realized that he was not without dreams, so he divorced and went to open a flower shop.
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There is a 27-year-old woman who only became a corporate contract worker and fought to the death to conceive her boss's child the day before her contract expired to obtain rich financial security.
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There are also strong women who are old and start to pack small fresh meat in order to gain a sense of value.
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This is the guide.
What are we looking at when we look at the Illustrated Book?
We are looking at the shaping of a group of women in the most concentrated place of a country.
This is also the reason why "Women's Guide" is good-looking, it includes all kinds of women who are disciplined by the culture of desire.
Cultures and their personalities collide, forming different looks and weaving completely different lives.
How can Lin Yishan, who is arrogant and correct, have the figure to look at all kinds of desires and integrate into various circles?
The more we think of a person as "omnipotent," the more we ignore the influence of the environment on the individual.
When we exaggerate women's sense of personal power, we ignore their powerlessness in the face of social discipline.
The more we demand a sober advance of personal cognition, the more we are unable to face up to the fact that in an era, blinded by the current social culture and want to be recognized, it is the majority of people who want to be recognized even if they abandon themselves.
If we always emphasize moral correctness, we will forget about desire.
And it is not easy for Aya to be honest with her desires and work to become a good person without any twisting or concern.
As for Lin Yishan, she grows up inexplicably, can always recognize herself beyond the environment, obviously has nothing in the big city, but can toss and turn nakedly in a dashing manner.
In my opinion, this is more like Lin Yishan, who is still staying in her hometown in Tainan, has a big dream in Taipei.
We are always asking women to transcend the earth, the divine and the divine power in any strong culture.
Then we can never be self-consistent with our femininity.
We can't understand Beauvoir's statement that woman is an acquired product.
Society can always mold people into inhuman forms through desire. She publishes