Recently, a domestic costume drama has obviously "become a Japanese drama", which has aroused heated discussions
A few days ago, a costume light comedy called "My Name is Liu Jinfeng" was on the air, and the costumes of the heroine Yoko Rame and many supporting characters in the play obviously had a strong Japanese style. On the promotional poster that was exposed in advance, Yoko Rame has appeared in a red kimono and a Japanese-style hairstyle.
This has attracted the attention of many netizens, who have questioned whether the crew's design is intended to "replace China with Japanese people".
The play is adapted from the novel of the same name "Empress Liu Heipang", which is set in Chinese history, but it tells all the stories that happened in China, and the content has nothing to do with Japan. But the crew is unique in terms of visual presentation, and the costumes and hairstyles of Yoko Rame and other actors exude a strong Japanese style from head to toe, and there is no trace of ancient Chinese costumes.
The audience also questioned the performance of such background drama.
What's even more incredible is that even in terms of food, the actors in the play actually eat Japanese sushi. This kind of infiltration of foreign countries in large quantities makes people wonder whether it is an unintentional and shoddy workmanship, or whether it is a deliberate attempt to use the past as a metaphor for the present and exaggerate the Japanese-style atmosphere? In any case, this is contrary to the common sense of history and the value orientation of the mainstream culture of the mainland, and the element of misjudgment is too large.
There are lessons from the past, and many domestic dramas have "Japanese transformation"
In fact, before the broadcast of "My Name is Liu Jinfeng", there were already many domestic costume dramas that had "disfigured" in the character design. For example, in last year's hit "Splendid Stars", the heroine was dressed in Hanfu and wore a Japanese-style knotted belt around her waist, which caused criticism from netizens in the stills exposed in advance.
Insiders pointed out that in ancient China, there was no such knotted belt, which is a unique element of Japanese kimono.
The crew did not quibble about this, but made changes after that. However, whether this was an unintentional mistake or a deliberate act, we do not know the truth. Similar cases include Japanese-style hairpins, exaggerated makeup, and the plot of performing Japanese geisha dances in "Canglan Jue", which are often seen in domestic costume dramas.
This makes people wonder what are the shortcomings of the gorgeous and splendid Chinese Hanfu compared with these "imported foreigners," and whether it is necessary to put in some Japanese-style ornaments? Is it deliberately catering to the so-called "trendy" aesthetics and despising the connotation of the country's culture? No matter what the considerations, this practice of "replacing China with Japanese people" is worthy of reflection.
More details in domestic dramas reveal the "Japanese style"
Not only do the characters appear in the modeling of the characters, but the details of the scenes in some domestic costume dramas often reveal a strong "Japanese style" atmosphere. For example, in last year's hit "The Wind Rises in Luoyang", the image of Wu Zetian set in the play is a beautiful woman with a cloak and hair.
This is very different from the dignified and generous image of women in Chinese history, but is closer to the image of the concubine in Cleopatra during the Heian period in Japan.
A similar case is the type of dim sum that appears in "Menghualu". The play uses the Tang Dynasty as a selling point, but the design of dim sum seriously violates historical common sense - the dim sum that appears in the play is varied, colorful and differently shaped, when in fact the dim sum in ancient China was mainly simple pasta.
This kind of performance also caused discomfort among many viewers.
The above-mentioned expressions, whether deliberate or unintentional by the director, are objectively affecting the audience, especially young people's cognition of local history and culture, so they must be paid attention to and pondered. We should not simply regard them as eye-catching commercial means, but we must fundamentally guard against and oppose this practice of "substituting Japanese for Chinese."
"Wakaze" is Japanese culture, and we must be vigilant
In fact, since ancient times, the Japanese nation has been good at absorbing excellent cultural factors from neighboring countries and regions, digesting and absorbing them and incorporating them into their own cultural system. Chinese Hanfu, food, and garden art have all had a wide influence and reference in Japanese history.
While absorbing these elements, the Japanese have also carried out "Japanese-style" processing and transformation to a large extent.
Therefore, the various "Japanese styles" that appear in these domestic dramas are actually instilling Japanese cultural identity in the audience. Most of them are Japanese adaptations based on Chinese elements. If we are not vigilant and are under the influence of this cultural atmosphere for a long time, we are likely to inadvertently change our perception of our own culture, and this requires great attention.
In the face of this silent cultural infiltration on the television screen, we must keep a clear head. We should be wary of the corrosive influence of Japanese and other foreign cultures on China's native culture, and at the same time confidently promote the essence of traditional Chinese culture.
Calling for respect for traditional Chinese culture and resistance to the "Chinese culture"
In the face of the proliferation of the phenomenon of "Japanese culture" in domestic dramas, it is necessary for us to face up to its subtle impact on national culture. Although the purpose of these crews to add Japanese elements may be to attract attention, the result is likely to mislead the audience, especially the younger generation, in their perception of Chinese history and culture, which we must be vigilant about.
Taking Yoko Ramu's image in "My Name is Liu Jinfeng" as an example, the Japanese charm of her gestures is simply deliberately creating a sense of atmosphere of "changing the dynasty". If this goes on for a long time, it is easy for the audience to mistakenly think that it is a true portrayal of ancient China.
We cannot tolerate this kind of cultural alienation.
Therefore, we call on the broad masses of the audience to be vigilant and resist all kinds of tendencies of "substituting Chinese with Japanese people". Chinese people should not lose their self-confidence and pride in their own culture because of the frivolous and exaggerated TV dramas. The profound historical accumulation of Chinese civilization and the colorful clothing vocabulary are our source of living water.
At the same time, we also implore the crew to stop deliberately catering to some so-called "aesthetic trends", but to respect the traditional culture of the Chinese nation and accurately reflect its original appearance in its creation. The traditional virtues of the Chinese deserve to be carried forward with confidence.
The crew should convey positive energy, the mission of domestic dramas
The influence of such film and television works should not be underestimated. We must realize that while they meet the needs of mass entertainment, they also dominate and guide the cognition and attitude of the broad audience, especially young people, towards history and culture to a large extent.
If they have been in the atmosphere of those works that exude "Japanese style" for a long time, it is easy for them to unconsciously accept the distorted interpretation of the Chinese national culture.
Therefore, no matter for commercial or other purposes, these domestic dramas scattered with "Japanese style" are worthy of reflection and vigilance. Not only do they fail to reflect the original style of Chinese culture, but they dissolve the audience's identification with their own culture to a certain extent, which is extremely harmful.
As an important carrier of cultural communication, domestic dramas should undertake the historical mission of promoting the culture of the Chinese nation.
Specifically, we call on the majority of film and television practitioners to explore China's rich and colorful traditional elements with heart and wisdom, and show our splendid historical and cultural heritage with a positive and sunny value orientation. Through careful design and ingenuity, Chinese elements shine brightly in film and television works, making them a source of cultural identity and self-confidence of the Douben nation.
This is the sacred mission of domestic film and television dramas.