<b>Literary/cultural</b> <b>and entertainment views</b>
"It doesn't satisfy our writing today about the new image of women, the new women's survival." When it comes to contemporary Chinese women's literature, Zhang Li, a professor at the College of Literature of Beijing Normal University, sighed.
In fact, what is "disconnected" from women's real life is not only literature, but also the film and television dramas that beautify reality and suspend the plot, and are also far from the spiritual needs of the audience.
Since the end of last year, big productions such as "You fei", "Flowing Golden Years", and "Shangyang Fu" have been launched in turn, and they have invested hundreds of millions of dollars, invited head actresses, held high the banner of feminism, and have great ambitions to closely follow reality.
However, "You fei" Douban 5.6 points, the original 8.6 points; "Shangyang Fu" and "Flowing Golden Years" original 7.8 points and 8.3 points, the drama version? 6 and 6.7 points.
"Mountains and Seas", which did not mention "feminism" at all, rarely picked up 9.4 points, and the heroine splashed with few scenes, and that face of grievance made countless viewers wet their eyes.
The times are changing, the audience's aesthetics are improving, feminism is no longer the protective color of the work, but the creators of related TV series do not seem to realize this, the slogan is shouted to the sky, but privately "magic reform" is frequent.
Several "big female lead dramas" obviously have the ambition to try to break through, but most of them only show the audience "pretend to break through", and finally leave regrets.
Why is the glittering original book exchanged for such a mediocre drama version?
01. Wang Yan
Selling the medicine of romance in the skin of power plot is the "nightmare" brought to people by such dramas.
"Shangyang Fu", which can make the "three gold" film queen Zhang Ziyi turn over, belongs to this kind.
In the original "Imperial Industry", the heroine and her husband married first and then loved, not only disdainful of being protected by him, but also to advance and retreat with him, helping him to cut through thorns and thorns and climb to the top of power hand in hand.
The first TV series of the "International Chapter" picked such a script, and the audience thought that she would set off a rare wave, but how high the expectations were, how much bone the reality was.
The opening seven or eight episodes, the story of the heroine Wang Yan is so tedious that people want to double the speed: the fighter in the nobility, pure and lovely, no one does not love, "the daughter of the King of Langya can get the world"...
Only it did not show any of the characteristics of "golden branches and jade leaves do not lose their eyebrows".
Zhang Ziyi in the play awkwardly plays a 15-year-old girl. She squeezed her eyebrows and tongues, trying to show the innocence of her daughter's posture in a slightly cartoonish body language.
However, in the face of those vicissitudes, often empty eyes, and a sharp face like a knife, the audience can only send the ridicule of "the emperor's love concubine".
Endure or endure, this is the question.
In addition to the appearance of the discord, the human settings have also plummeted.
In the original work, the Lord of Shangyang County, who "did not let me shave my eyebrows", was repeated twice just by climbing over the wall and being caught by the male protagonist, there was no romance, only boredom.
The male protagonist and the male second face value made it difficult for the female audience to say a word.
The new "conspiracy" plot is shocking: the heroine's father and queen, with only a cup of fabricated poisonous wine, uprooted the Xie family of the century-old shi clan.
The Wen Waiter who entered the court did not believe it, and the audience did not believe it, and the barrage sighed one after another, "This palace fight level is also too low."
And when it comes to the plot of the heroine and her husband staying together, it immediately begins to be rendered in a colorful way. Hot search is not less, but comments and forwards are all "good sweet" and "good desire", or simply nothing, more like copy and paste, there are few real discussions.
"Marry first and love later" was originally a power trade, and in the end it still brought the whisper of "overbearing president and little wife".
"The story is collapsed, the seeds are wrong, and there will be no good fruit." Screenwriter Song Fangjin commented on the problem of "Shangyang Fu".
"The production is exquisite but the operation is amateurish", screenwriter Wang Hailin also said bluntly when evaluating the play, "The story is too unserious, too despise the script."
According to him, the filmmakers are not ignorant of the low quality of the story, and even asked Liu Yi, the screenwriter of "Wolf Warrior 2", before filming, and the result was that "the price was not discussed", and the plan to improve the script was shelved.
A TV series with an investment of 700 million yuan is unwilling to spend money on the script, where does the money go? make? This is indeed the focus of the drama's publicity.
However, drama critic Li Xingwen believes that the war scenes that should cost money are filmed very small.
There is no on-site scenery, no sky light is visible at all, only the blue fog special effects of the studio are left, not like the big scene of war, more like a scene of martial arts drama.
What is even more frightening is that a costume drama, the text and lines are frequently typos, the grammar is not comprehensible, and the audience is worried.
"Screenwriters don't even meet professional standards."
This level of big investment failed in the script and production, which undoubtedly sounded the alarm for the simple and rough, big and fast TV series: not polishing the story and production, and blindly piling up the "horns" is "wasting social resources".
The contrast is that the chief producer Mu Xiaosui does not think so, he directly gave "Shangyang Fu" 10 points, and said that "such a large volume of high-quality dramas should not be less than 7 points."
Li Jingsheng, vice president of the China Federation of Radio and Television Social Organizations, said with high certainty that "good looking" is a fair evaluation of "Shangyang Fu".
Reality is always better than a TV series.
02. Zhou Fei
Also seeking a breakthrough but failing to break through is zhao Liying, a small flower after 85.
Her postpartum comeback work "You Fei", the heroine Zhou Fei is the queen of the great hero Nan Dao, the palm pearl of the forty-eight villages, the snow-breaking knife passed down to the people, talented, beautiful and not self-aware...
Director Wu Jinyuan said that martial arts should not be limited to the male world, and there is also a lot of room for martial arts in the female world, and he wants to show women's adherence to their hearts in the ever-changing times.
But after the broadcast, the first to go out of the circle are hard injuries, for example, Che Xiao and Zhao Liying, who are five years apart, play mother and daughter, and the painting style is as follows:
Duan Jiuniang (Played by Dong Xuan), who calls herself Zhou Fei's "grandmother", and "make up a pair of sisters" with the heroine.
In the original work, Zhou Fei "can cut the four demon heads of the mountain of the living and the dead in his heyday", but the fight in the play is weak and weak:
As for the criticism of "Zhao Liying's haggard after giving birth", it is not necessary.
The core of the audience's "distraction" is still that the acting skills are not convincing, and the "heroine" has not stood up.
Want to know how pleasing the real heroine can be, watch a B station hit video to know.
Lin Chenhan, a 15-year-old girl (who was only 13 years old at the time of filming), "took advantage of the situation to split and kick to borrow power" in the game adaptation movie, which was not only sassy, but also saw the knife weight.
In the overwhelming praise of the audience, she satisfied the imagination of the crowd for Ah Fei.
Like "Shangyang Fu", the hot search of the crew is not less.
Fans are busy "encircling themselves", and the false prosperity fully proves that the minds of such TV series are spent and where the aesthetic taste is.
If the drama fails to make circles, it is even more impossible for the audience to discuss the most fundamental limitations of the big female protagonist.
"The big heroine's work only changes the gender of the characters, but it does not change the power logic of the story in the slightest."
"She's still a cultural 'Mulan-like situation' in the broad sense, that is, if you want to appear, you can only disguise yourself as a man. This, of course, does not refer to external makeup, but to the replacement of internal logic. ”
Professor Dai Jinhua, director of the Center for Film and Culture Studies at Peking University, once lamented this.
A generation of heroines was consumed after all.
03. Zhu Suosuo and Jiang Nansun
After "Thirty Only" and "Twenty Not Confused", the theme of female friendship was hot again, and at the end of the year and the beginning of the year, "Flowing Golden Years" appeared.
The protagonists are two urban girls with very different personalities, they are beautiful and sober, they have gone through ups and downs, they have always shared hardships and hardships, they have fought against reality with friendship, and they are each other's confidants.
First feel what is the casting fit:
After the start of the broadcast, the two heroines developed towards the setting of Yi Shu's original work, and the "anti-eye for men" that the audience worried about did not happen, and the temperament and clothing of the characters also made the film sell out perfectly.
Ni Ni seems to have found a route, sexy and beautiful, and explained the beautiful Zhu Suo lock clearly.
The original Zhu Suosuo was born low, unloved, and sent people to the fence from an early age. She saw through the cruelty of society early on, never asked for love, and only wanted to use beauty to use others, exchange resources, and "play the human world".
But in the TV series, the cruel bridges are "beautified": her middle school diploma is upgraded to a bachelor's degree, and as soon as she graduates, she will work in a big company with the help of nobles.
Although there is also discussion behind the scenes, she has always been innocent with the Bole and has no relationship beyond the scope of work.
After her career improved, she even had a sincere feeling for the business tycoon Ye Jinyan (Chen Daoming), and bravely pursued love, saying that she could sign an agreement without a penny from him.
Is this so-called true feeling moving? You can refer to the "sweet pet drama" "Love Me Don't Think Too Much" of Chen Jianbin and Li Yitong next door, Douban 3.3 points.
Compare the real Zhu Suosuo when you see money as dung. After marrying the son of a shipbuilding tycoon, her husband's family went bankrupt, and she had previously fought a divorce lawsuit with her husband for a long time, but at this time she insisted on giving everything she had and paying off the debt together, until the storm passed, and then withdrew.
Also suffering from "magic reform" and lack of persuasion is Jiang Nansun.
Miss Jiang Jia, who grew up with no worries about food and clothing, was a big miss who was too well protected and did not know the dangers of the world, but after a series of changes in the bankruptcy of the family, the death of her father, and the departure of her mother, she grew up overnight.
While respecting these settings, the drama version ignores an important point, and Nansun is also a "social person" without illusions.
When he was in college, her boyfriend Zhang Anren was taken in by a new female assistant teacher, who was difficult for Nansun in her schoolwork. Subsequently, the desperate Nansun went to the head of the department who had a good feeling for him and used his power to settle the matter.
It also made her realize the dark side of society for the first time.
In the play, this hard-core plot becomes: the ex-girlfriend came from a small place and wanted to borrow them to gain a foothold in the big city and was recognized by Nansun. In the end, Nansun borrowed money to send her to learn English and relieve the crisis.
Many viewers are wondering, is this the script that took the "big lady" to rob the husband in advance?
All in all, the drama version erases the temptations and difficulties that women will encounter in reality, and eliminates the most "realistic" part of the original work.
This makes the friendship that the heroines rely on to resist reality lose their strength.
04. Li Xueqin
Zhang Li, a professor at the College of Literature of Beijing Normal University, once said that today's women's writing is disconnected from many people's understanding of women's lives.
Professor Dai Jinhua believes that the new female image is mainly highly educated, has seen the world, and is familiar with the Internet, and the audience's expectations for them are no longer feminism based on grass-roots women's hardships and hard work, but more of a contemporary feminism of young middle-class women who are independent and free, dare to say and dare to do.
Look at who are the women who are now stirring up public opinion? Zhang Li said, "I hope that one day chinese women writing, or Chinese the new generation of literary studies, there will be our own Yang Kasa or Li Xueqin." ”
In addition to such groups that reflect the mainstream of the Internet age, there are also some "vulnerable groups that do not account for the share" that also need attention.
From Ram, who was burned to death by her ex-husband, to middle-aged women at the bottom who were deceived by the "fake Jin Dong", their experiences reflect the harsh reality of society, and if the creators of literary and film and television works are not sensitive to such issues for a long time, it is also a problem.
The matrix of film and television dramas is the script, and if literary works do not convey feminism well, film and television will only be shallower.
Turning to mature urban novels, but weakening the core contradictions, leaving only a thin story framework, just like buying a pearl, the work naturally loses its charm.
In fact, domestic dramas are not without good attempts:
"Don't Talk to Strangers" makes the society pay attention to domestic violence, the choice of women in "Snail House" when facing material temptations such as houses is lamentable; the heroine in "Chicken Feathers Fly to the Sky" relies on her business talent to create a career with the male protagonist... These are all good works that closely follow the topics of the times and trigger discussions.
Today, with the further development of funds, talents and the market, there is no reason for the discussion of film and television dramas to be more shallow.
According to DeTaven statistics, in the 2018 drama market, the proportion of female viewers (57%) has been significantly higher than that of male audiences (43%). In the past two years, this gap has been further widened. According to iQIYI's 2020 sub-account drama data, the proportion of female audiences on all platforms has reached 70% for two consecutive years.
In an era of film and television in which female audiences are increasingly dominant, it is not a wise choice to belittle them.
End of the full article, thank you for your patience to read.
Different entertainment observations
Copyright Notice
This article is the user's exclusive authorization to publish the manuscript of the wind news community, please contact the observer network for reprint.