Author|Xie Minghong
Editor|Li Chunhui
Thinking about it, I'm afraid that everything was already clued when people began to use Grandma Rong's emoji in a mocking manner, instead of hating the roots of their teeth when they watched the drama.
Madness is healthier. Since "mad literature" is popular among the masses, and since everyone is talking about "the disciplined life of East Asians", there is quite a sign of the change in the audience's attitude towards the crazy woman on the screen - yes, the crazy man still can't. Men's response to social change is always lagging behind, just as society demands of them.
Regardless of the heroine and female match, occasionally going crazy can always make people refreshed:
The heroine of "Angry Life" was inspired by a "road rage" and launched crazy revenge on the parties. And she is usually an emotionally stable middle-class elite who can draw energy from plants; The female second Tianhuan of "Long Moon Ember Ming" couldn't accept that she was robbed of her sweetheart by the female protagonist of the mussel essence, and directly led the team to slaughter the heroine's entire clan; Jiang Shuying in "Ode to Joy 4" stood in the corridor and cursed at the colleague who called her to the dinner: "Why don't you call your mother, your wife and your daughter?" ”
At this time, the audience did not question their "emotional instability", but sincerely empathized. Asian family conflicts in the United States are really big, and the mentality of "everything will be fine when you run to the United States" is not desirable; Tianhuan is so crazy and feeling, the last one that made people so excited was Sujin; In the face of unreasonable demands, you have to go crazy like Jiang Shuying, otherwise others think you are a soft persimmon...
In fact, in the drama announcement a few years ago, I already liked to buy the hot search of "heroine blackening". Compared with the white lotus heroine who walks in a regular way, of course, the crazy beauty black lotus is more sensual. However, instead of saying that the audience loves "evil women", it is better to continue the Taoism of literary criticism and use the classic image of "crazy women" to investigate the changes in film and television images.
"Mad Woman in the Attic", published at the end of the 70s of the last century, known as the "Bible" of feminist literary criticism in the 20th century, salvaged the "mad women" in 19th-century literature from "Jane Eyre" - they openly ignored the "way of women", fancy, ambitious, evil, self-destruction... Angels, or what we call "goddesses" in fairy tales, represent personalities that can be accepted by society or tradition. Mad women are "free, unfettered, and often destructive externalizations of self."
Are people "going crazy" to achieve imaginative liberation? It's possible. For for the immediate difficulty, a completely rational solution seems impossible. And even if it is not so valuable, "crazy" is obviously a more dramatic form of content that can bring the ultimate emotional release and is popular with the people.
Two kinds of crazy women
In 2017, along with the audience's criticism of the crazy woman Sujin in "Three Lives and Three Lives and Ten Miles of Peach Blossoms", Douban user "Yue Ya Mo" published a drama review called "On the Political and Economic Status of Vicious Female Partners", which pointed out a system bug in the setting of female partners:
The romance heroines of Qiong Yao dramas are often born in poverty and are persecuted by female partners of noble origin. At present, it is intended to exaggerate the noble origin of the heroine and the low socioeconomic status of the vicious female match. Is it because they have a miserable end because they are morally corrupt, or is it because they are destined to end miserably and are destined to be trampled under the feet of the heroine, so they are deliberately arranged to be morally corrupt?
In these two cases, a crazy woman from a noble birth and a crazy woman from a low birth can be adapted to almost all fairy tale dramas - it can be seen that our people from ordinary backgrounds are not easy to go crazy, and generally serve these two crazy women emotionally steadily.
There are enough copies of "Long Moon Ember Ming" to include these two genres. In the story of Jingguo Shengguo, Ye Bingchang, played by Chen Duling, is the daughter of the Ye family, a noble family of high gates, who seems noble but is actually inferior to her concubine Ye Xiwu. Even if he was pushed into the water by Ye Xiwu, his grandmother signaled that the other party did not need to apologize. Therefore, this concubine had to go step by step, stealing love silk and getting close to the sixth prince, seemingly knowledgeable but actually quite ambitious in desire.
In the copy of the twelve gods, Ye Bingchang was a holy daughter of the Teng Snake Clan in her previous life. Compared with her, the heroine Sangjiu is just a dirty and lowly little mussel spirit, a mussel spirit in the divine comedy "Only You" in "Journey to the West", "Crabs and mussel spirits can't eat me". This template has become a Qiong Yao routine for noble women to persecute the heroine of the cold door.
Back to "Three Lives and Three Lives", although Su Jin grew up in the Heavenly Palace, he was far lower than Bai Shao on the immortal step. One time, Su Jin wanted to provoke the relationship between Bai Shao and Yehua, but Bai Shao saw that he opposed the general and put up a high-level divine product to tell Su Jin, and with Su Jin's status, he needed to bathe and burn incense for three days and perform the ritual of kneeling three times and bowing nine times. Su Jin's madness is a kind of madness under the blessing of double buff: she is neither white and noble, which is crushed in social status; and can't get Yehua's heart, which is crushed in love life.
In "Ancient Jue Dust", Wuhuan was originally the humblest miscellaneous phoenix of the Feng clan, and she was not qualified to be the mount of the heroine of the ancient world, and with the fall of the true gods such as the ancients, she actually became the queen of heaven in charge of the three realms with the fall of the true gods such as the ancients.
Some viewers criticized Wuhuan's nouveau riche mentality, which was originally a windfall after changing from a mount to a sky, but this opportunity made her psychologically unbalanced, became afraid of loss, and finally even did not hesitate to join the demon god. Die of laughter, who has gained benefits does not want to lose ah, the female partner is not like the heroine was born with everything. The rise of grassroots relies on a sense of enterprise, a ruthlessness that is not afraid to wear shoes barefoot.
In the past, this kind of grassroots female match still had a lot of room for improvement, and Jiang Yuyan in "Little Fish and Flowers Are Perfect" is a humble daughter, and a pawn that her father Jiang Biehe can sacrifice at any time. She worked hard to climb up, not only absorbing the internal power of the two palace masters of the Shifting Flower Palace to become the supreme of martial arts, but also seizing the power in a vain attempt to seal the flower as an "imperial husband", who didn't say a word of inspiration!
The mechanism by which "madness" is generated
When a woman of noble birth begins to go crazy, we must consider the source of her evil. One is endogenous, that is, she is naturally crazy and enjoys the process of doing evil; One is exogenous, she has been hurt and treated unfairly, and madness is just a balance of psychological mechanisms.
Xu Yingying in "Supreme Red Face", many viewers think that she "became crazy" because of jealousy, but in fact, as early as when she first entered the palace, she wanted to poison Mei Niang to death. All the excuses we make for her, but our hearts are not willing to accept the natural evil woman. Her torture of her friend Xiaoduo (cutting off her hands and feet, cutting off her eyes) is obviously no longer to achieve the goal, but to enjoy in "evil". It is no wonder that she and Jiang Yuyan have become the two major childhood nightmares of many people.
Tianhuan in "Long Moon Ember Ming" was ridiculed by netizens as "Golden Wire Lop-eared Rabbit" because of his style. When she slaughtered the heroine's entire clan, she only said "kill" lightly, obviously she was intoxicated with crazy criticism. Worried that he would not be able to understand his antisocial personality, Chen Duling also watched the confessions of bad people in many legal programs. Judging from the hateful drama, she should understand what innate madness, evil in the womb, and unexplained bad is.
Aside from Yue Qiluo's complex gender in the original work, she is also a rare natural crazy woman in Chinese dramas. If it weren't for the cover of Zhang Xianzong's CP and Chen Yao's beauty, he would not be scolded to death. In "The Heartless Mage", she is murderous and bloodthirsty, and she does everything according to personal likes and dislikes, and her worldly morality is gone. Tired of playing Duan Sanlang, he sucked the essence dry and let him hang himself. In her eyes, other people's lives are not lives, but chickens, dogs, and mustards.
From a psychosocial point of view, exogenous evil and madness are easier for the audience to understand. Without the creator defending the characters, the audience will make excuses for them. Zhen Huan, who went to the end on the road of blackening, murdered the emperor in the final analysis as revenge for the "scumbag" and the ultimate compensation for the infatuation and mispayment. Using the theory of "The Two Bodies of the King", Zhen Huan only deprived the emperor of his "natural body" and did not touch his "political body" in the slightest. After her successful revenge, she retreats and is trapped in the palace walls.
The concubine of "Yanxi Raiders" originally wanted to live in peace, but found that she even asked for a few hundred taels of silver, and she couldn't protect her family. She went crazy in the rain: "Why do each of you force me, I am responsible for the death of Changshou and Eniang, and I will get them all back one by one." "In the play, she lights seven lamps and is the seven objects of revenge. Each successful one cuts the wick of a lamp.
Judging from the number of killings, the Sang Jiu slaughtered by the Teng Snake tribe in "Long Moon Ember Ming" is no less than Tianhuan. But since it is Tianhuan who is "unkind first", so mulberry wine can be "unrighteous later". But netizens still looked at them like a torch: "You two rob men, and the whole clan is unlucky." ”
Two excellent women go crazy, and in the end they are still in order to integrate more harmoniously into the male order, and this is what makes ethical fairy tale dramas addictive - no matter how much thinking progresses, loving dog blood is also a kind of muscle memory for us.
Who does the mad woman speak for
In the face of Tianhuan, everyone wants to get rid of it quickly. But looking at her scorpion beauty appearance, it's hard not to secretly praise. In the past two years, the audience has obviously become more and more tolerant of "crazy women".
The "Seiba Ancestor Yeonjin" in "Dark Glory" is the hottest Korean drama crazy woman after "Penthouse" crazy criticism of Qian Ruizhen. Instructing others to burn Donn with a curling iron, because he forced other girls to be naked by bumping his shirt, and he was angry with his mouth crooked at every turn. As the humblest female villain, everyone in the drama has a handle on her.
If Qian Ruizhen is a serious lady who is crazy, then Yeonjin is a social woman who wants to pretend to be a dignified miss, and the pomp and circumstance is there, but the connotation does not keep up, and she can't hold back and shows her second-rate temperament. Using Yeonjin's literature to make sentences, Hard Candy-kun wanted to say: "Yeonjin, teach me to be a crazy girl!" "The popularity of Yeonjin's emoji is largely because the audience wants to go crazy and dare not go crazy, and Yeonjin acts as the spokesperson for everyone's inner little monster.
Postmodernism emphasizes inner obedience, as is clearly the case with naturally crazy women. Regardless of the feelings of others, only pay attention to self-happiness. In a sense, the crazy beauties in domestic dramas are also clues that people quietly want to go crazy. Madness is a kind of spiritual madness and moral depravity, and beauty is the most conflicting element to match it.
Ugly women make bad, and everyone says that people are ugly and weird. The beauty became bad, and the fans said that it was crazy and sensible. At the same time, the tragic ending of crazy criticism of beauty also presents the social environment in which women live, with a lot of helpless confusion, and the struggle against not being able to reach the other side of the ideal survival, which is a more powerful and broken character shaping.
Yuan Chun, played by Li Qin in "The Legend of Chu Qiao", once said domineeringly: "Since I have already poked a hole in the sky, I am not afraid that it will collapse again." And in the look back when the country was destroyed, it was difficult for the audience to blame her; In the upcoming drama "Protect the Heart", the role played by Yang Rong is also particularly crazy. Killed the male protagonist to pick up his skin and cramps and unload eight pieces, afraid that the other party would take revenge and copy his soul, just to make dragon scale armor for his beloved. Mad woman + love brain, Jiang Yuyan and Wang Baochuan have to call her sister when they come.
The popularity of the screen image of the madwoman responds to the anxious public's desire to resist and break through the status quo of existence in the high-speed social state. It deviates from traditional femininity in terms of goals, actions and values, and meets the needs of the current audience to resist pressure and release emotions. Although it is only imaginary, it is also quite enviable to substitute for the restrained real life everywhere.
According to "Chui Shang", Zhou Ren is implicit, has too much sense of crisis and worry, attaches importance to secular order and status hierarchy, and is good at concealing desires and self-packaging. This has eventually become the mainstream spirit of our Chinese nation. And businessmen are straightforward and impulsive, have the confidence and numbness of the strong, are competitive, and lack shame. Look, isn't this the crazy woman on the screen today. (The king is also usually portrayed as crazy)
Nowadays, people love to watch "crazy women", is it the awakening of an ancient bloodline?