"Director, can you let go of the audience's IQ" - in recent years, the bizarre plot in anti-Japanese dramas has aroused criticism from the audience
With the vigorous development of domestic dramas, TV dramas with various themes have emerged in endlessly. However, among the many types of dramas, the anti-Japanese theme has always occupied a place. This kind of drama generally attracts the audience with passionate and generous feelings, showing the spirit of the Chinese people to resist the enemy bravely. But in recent years, the dramatic treatment in some anti-Japanese dramas has frequently touched the audience's bottom line.
"You can't cooperate", this is a dialogue in the fire of youth. The play tells the story of a male Balu who went deep behind enemy lines and captured a female devil. In order to obtain information, he forced the other party to have sex with him. This plot caused a strong response among the audience, who asked "whether the director's brain was kicked by a donkey". It is true that the plot setting has a strong dramatic conflict, but it is completely detached from reality and contrary to history.
In fact, in recent years, the plots of many anti-Japanese dramas have been extremely absurd and incredible. In the hot-blooded youth under artillery fire, the heroine faked her death directly after being shot in the arm by the enemy, easily deceiving a group of devil soldiers. In the yellow bullet in the heart of steel, the male protagonist rushes into the enemy camp alone and easily kills five strong devils. The audience was in an uproar after watching it, thinking that such a setting was completely insulting the audience's IQ.
"Is the director deliberately making bad dramas", Zhang Dachuan is a fan of dramas, and he often publishes film reviews on the Internet. Zhang Dachuan said frankly that in recent years, anti-Japanese dramas have made him roll his eyes, "Brainless operations one after another are unreasonable, I wonder if the director's brain is in water." ”
Indeed, absurd plots emerge one after another. For example, in a drama, the female Balu easily killed a large group of sturdy devils in the assassination mission, and she was dressed in a swimsuit throughout the whole process. In some dramas, the commander of the Eighth Route Military Region actually competed with the leader of the enemy's spies in chess skills, and the enemy surrendered automatically after the victory. "What is the director thinking, is the audience's head a piece of tofu?" Zhang Dachuan said that he could not agree at all.
In fact, the director also has his considerations for choosing these absurd plots. Anti-Japanese dramas have always been difficult to attract young audiences, who believe that such plots can increase the attractiveness and sense of substitution of the plot. "Young people love excitement and we're trying to cater to their tastes. A director said frankly. But apparently the over-theatrical treatment backfired, not only criticizing the drama fans, but also making the spirit of resistance in history textbooks unconvincing.
"I have no objection to adding a little drama, but it must not be detached from the fundamental law. Li Xin, a veteran commentator, believes that some small climaxes can be added, but they must be based on basic facts and reasonableness, "and historical facts cannot be exaggerated to cater to the audience's taste." This is a very dangerous way to deal with it, and it can lead young people wrong. ”
Directors are also reflecting. In the recent hit Hunt for Qin, Liu Bang repeatedly narrowly defeated Xiang Yu's army, which Globalsens questioned. The screenwriter explained that they have researched the historical facts, and Liu Bang's less victory is not completely fictional. In addition, the crew added plot settings to make Liu Bang's victory reasonable. This was recognized by the audience.
Obviously, the screenwriter wanted to find a balance between entertainment and historical truth. Reasonable dramatic treatment can increase the appeal of the plot, but it must not come at the expense of historical facts. Otherwise, it will not only be difficult to gain the recognition of the audience, but also damage the historical cognition of the younger generation.
In the future, we hope that anti-Japanese dramas can return to the audience's field of vision with a more rigorous story attitude. Through the well-designed plot and characters, the historical picture of the Anti-Japanese War is reconstructed, and the national memory and pride of the Chinese people are aroused. This requires screenwriters to uphold historical responsibility, not to put dramatic effect first, but to grasp the balance between story and history. Let the anti-Japanese drama not only have a sense of substitution, but also do not deviate from historical facts. Only in this way can such works become an important cultural resource to enhance national identity and cohesion, and not just to consume entertainment.
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