The Chinese entertainment industry in 2023 can be described as turbulent, especially in early September, Song Zuer's tax turmoil has not yet subsided, and a highly anticipated TV series "Cloud Feather" suddenly airborne, causing widespread discussion and controversy.
The drama's attention stems from many aspects, including Yu Shuxin and Zhang Linghe's partner, Guo Jingming's directorial debut, and the plot setting.
However, although the pre-publicity seems to be highly anticipated, the response from the audience after the premiere is not ideal, and one of the important reasons is the problem of the wind.
Plot setting and director
The plot setting of "Cloud Feather" focuses on house fighting, intrigue, and is full of deception. Yun Weiyi, played by Yu Shuxin, is a spy, and in order to complete the mission, she must infiltrate the palace gate disguised as a bride and face various dangers.
Zhang Linghe plays Gong Ziyu, who has gradually grown from the beginning of naïve rebellion, and the love-hate entanglement between the two is fascinating. Although the plot seems gripping, director Guo Jingming's handling has been questioned.
Guo Jingming has always been considered a director with excellent aesthetic vision, but this time he seems to have overturned. The audience pointed out that there were too many slow motions in the play, and although the picture was beautiful, there was a lack of intense fight scenes, resulting in a protracted pace.
In addition, the filters and lighting effects of the TV series have also caused controversy, because the overly dark tones and light make the audience feel uncomfortable.
The problem made netizens jump like thunder
However, one of the most controversial issues is the wakaze in the play, an element that is clearly influenced by Japanese culture. This phenomenon manifests itself in many aspects of the play.
First of all, the setting and architectural style in the play are eye-catching. For example, the pattern of tiles on the eaves uses chrysanthemums, while in ancient Chinese architecture, the patterns of tiles were usually varied, and chrysanthemum patterns were not common. And chrysanthemums are given a special meaning in Japanese culture, so using it can lead to misunderstandings.
In addition, the screen pattern in the play and the snowy scene of the rising sun of Mt. Fuji are also considered to be similar to Japanese culture, although not identical, but the similarity still raises doubts. The family pattern that appears in the play makes people feel like the logo of a certain shrine.
The costumes and sitting postures of the actors are also controversial, with some details of the costumes more like Japanese kimonos than ancient Chinese costumes.
Audience discontent and collective boycott
The audience expressed strong dissatisfaction with the problem of the wind in "Cloud Feather". They believe that this obvious foreign cultural element should not appear in traditional Chinese costume dramas, especially in a drama that promotes traditional Chinese culture.
The seriousness of this problem was also highlighted at the time of the premiere of the show, on the eve of the anniversary of the victory of the Chinese People's War of Resistance Against Japan, the drama's boobsy elements made some viewers angry, and even called for a boycott of the show on social media, and countless netizens spontaneously went to the People's Daily comment area to demand that the bad drama be removed.
Guo Jingming, as a director and screenwriter, did not sign his name, but used the name "Gu Xiaosheng", which was interpreted by some netizens as an acronym for the nickname "Guo Xiaosi", adding to the gunpowder flavor of controversy.
epilogue
The problem of "Cloud Feather" has aroused widespread attention and discussion among the audience. This incident is not only a problem of a TV series, but also a problem of Chinese cultural self-confidence and traditional cultural inheritance.
It is hoped that the drama side can face up to the audience's problems and give a reasonable explanation, and at the same time, it is also hoped that other costume dramas can be committed to promoting Chinese traditional culture and allowing more people to see the traditional cultural elements that belong to China.
In the entertainment industry, the balance of aesthetic and cultural inheritance is crucial, only in this way can we see works with real Chinese characteristics on the big screen and small screen, inheriting and promoting the essence of Chinese culture.
In addition, director Guo Jingming should also be more cautious in his future works, not only respecting Chinese traditional culture, but also taking more responsibility for the audience's cultural identity and emotional experience. While it may have market appeal, it should not come at the expense of cultural dignity.
At this moment full of controversy and discussion, we hope that China's film and television industry can reflect and improve to better serve the audience and inherit and carry forward the essence of Chinese traditional culture.
Only in this way can Chinese film and television works gain greater influence and recognition on the international stage.