Author / Wang Dali
Edited / Pen A
Operations / Biscuits
The adaptation of Yishu's novel has blown into the small screen.
This writer, known as "Shitai", has influenced urban women for half a century with his unique female image and profound life observations.
In addition to "Xibao", which was made into a movie, "The First Half of My Life", "The Golden Years", "Chenghuan Ji", and the to-be-broadcast "Rose Story" are all TV drama works. Coupled with "Single Woman", which is about to be turned into a film and television, the "romance diva", a writer who is deeply loved and sought after by female readers of the post-80s generation, is influencing younger female audiences in the form of images.
More than 40 years have passed since the reform and opening up, and the changes in social and economic development and the ideological consciousness of the general public are incomparable. This also means that it is somewhat difficult to adapt the work of "a little year", unless the background of the original work is restored, but if it is placed in the present, the change of the subject's consciousness needs to be greatly moved.
It's a pity that the already small independent female subject consciousness in Yishu's works has disappeared with the passage of time in the process of adaptation.
"The First Half of My Life" is busy with girlfriends, "Chenghuan Ji" is busy with mother-daughter competitions, "Golden Years" and "Rose Story" are full of movie dream girls and wives become prominent students, and the movie "Xibao" is busy making dreams for ordinary girls. Okay, good, people look at it in the 20s, it's not hurtful, it's a bit insulting.
1. Beautiful shackles
When it comes to female romance, I can't avoid comparing Yishu and Qiong Yao.
is also the contrasting perception after film and television, Qiong Yao is generous with love brain and attachment, but it seems frank. Coupled with the fact that the bitter drama is the main part, the heroines mostly start with hellish difficulty, stumbling up from the tragic world, but they have a bit of backbone and courage to get out. For example, in "Deep Love and Rain", Yiping went home to ask for money, knowing that what was waiting was heavy rain, humiliation and whips, why not get it?
The heroines of Yishu, but from the beginning of "the wise do not fall in love", they played good cards all the way to sparseness, the cruel workplace and work experience, but they did not have long wisdom but raised their love brains very well, and they spent most of their time revolving around men.
Summary:
Qiong Yao: I am a flower, love me.
Yishu: Don't call me a flower, I'm a tree, love me.
After Yishu's novel was turned into a film and television, what made it worse was that women were competing to turn on the "self-forgetfulness" mode, automatically bringing in the roles of wife, mother and daughter, and in general it was still the old imperial calendar of the three outlines and five constants.
Let's start with the recently aired "Chenghuan Ji". Should I say it or not, this drama knows how to use female competition between women to make a fuss. In the early years, the classic "Mother-in-law, Daughter-in-law and Sister-in-law" wrote through the grievances and hatreds between three women in a family, and there was nothing new under the sun.
Brother-sister/sibling families, no matter how patriarchal they are, are, in the final analysis, "contradictions within the people", which are essentially different from "contradictions between friends and enemies" such as "outsiders".
The water spilled by the married daughter, and the two bowls of water in "Chenghuan Ji" are fighting. has been objectified and there are all kinds of opposition, I don't know how Mrs. Shi feels when she sees her woman being changed like this.
In the original book, Mai Chenghuan said that the relationship with the Xin family is like this:
Xin Jialiang and I are generally working-class, and we are not high-ranking with each other, so we can be called a good match. I didn't marry into a wealthy family, once and for all, I waited for the other party to see something different, so as to collect hundreds of millions of alimony. Mom, you and I can show our true faces.
In the play, it seems that everything has changed for the better. Xin Jialiang hides his identity as a "rich second generation", and Mai Chenghuan takes care of his eldest son's boyfriend who has not been weaned like a mother, helps him find a job, and has to take care of his emotions and help him block the contempt from his mother.
When Xin Jialiang "fell off the horse", the two families were ready to discuss marriage, and the drama at the dinner was to know how to raise blood pressure and block the breasts.
In stark contrast to the Mai family's parents' careful maintenance of decency, the Xin family's contempt is unstoppable. Especially Xin Jiali, as a "quasi-aunt", is like a crazy person, she is extremely harsh on the Mai family, and her words are mean or even uneducated. This drama is physically uncomfortable to watch for two reasons:
The ugliness of women, Xin Jiali, as a woman, has no empathy for the same sex, she is unhappy in her in-law's house, she has been drenched in the rain and lifted other people's umbrellas, and it has reached the point of lacking basic cultivation, creating "villains" and creating tension;
The female competition in "The First Half of My Life" is more vividly demonstrated through the serial set of love debts.
Tang Jing learned that Ling Ling robbed her best friend Luo Zijun's husband, so she shifted the battlefield from family affairs to the workplace. The first time he gave Ling Ling a dismissal, he handed the data on Ling Ling's frequent salary increase directly to the company's human resources department, and Ling Ling was suspended; the second time, when Ling Ling was embarrassed by Luo Zijun at work, Tang Jing, who had become the company's spokesperson, directly fired Ling Ling.
What kind of drama is this "domineering president's girlfriend loves me"? What kind of regular enterprise can allow personal feelings and normal work to be so smoothly entangled? After reading this plot, I deeply feel that the "correctness" of the iron law of the workplace that mom-and-pop shops must not or prohibit office romances, and that there are always more outrageous incidents behind all the unfriendly rules, and this is the best proof.
What's even more heartbreaking is that Tang Jing and Luo Zijun, the two best friends, are not monolithic. On the issue of He Han, Tang Jing handed over Luo Zijun's affairs to He Han to deal with, it can be said that she trusts He Han and Luo Zijun, from another perspective, maybe she didn't believe that He Han would fall in love with Luo Zijun from the beginning?
Sometimes watching the women on the screen compete in the unconscious under the banner of independence, it's like watching monkeys in the circus. Or, like a chain that ties a young elephant, even if it can be freed casually when it is an adult, it has long lost this awareness.
Second, the ethereal bubble
Yishu's novels are typical elitist narratives, which are closely linked to her origins and upbringing. In a way, her work expands the horizon of vision from a window to a door when a generation of women opens their eyes to the world. That's why her work has gained so many fans.
is also because of the elite narrative, there is no lack of ethereal bubbles in Yishu's stories, similar to the "golden finger" in the male frequency text, and there are few stories of ordinary women in the real sense of upgrading and fighting monsters by themselves. After the film and television, the heroine of Yishu's story is played by an absolute first-line female star, not to mention beauty. The two compartments work together, and the gentle township is like a sugar-coated cannonball.
If "Cinderella" is a fairy tale for girls, Shitai's love story is an adult fairy tale tailored for Gray Aunties. Although age should not be the source of anxiety, girls, it is possible to be moderately anxious just because you are old and not your brain!
The dream of pie falling from the sky is always circulating in Yishu's story.
In "The Story of Cheng Huan", Mai Chenghuan is rarely on par with ordinary people's family backgrounds: the sisters and brothers in the family have a small house, and the younger brother is not often at home when he goes to college, so he will be the "director" at home, and he wants to marry the Mai family's parents to make up the dowry, and the mother even wants to sell her dowry to her daughter to make money to strengthen the façade.
The story has developed so far that it is still on track, after the identity of the second generation of Xin Jialiang's rich fell off the horse, he hid the rich Mai grandmother, Yao Zhiming, the head of the "pseudo-orthopedics" sky, these heavyweight NPCs, in which direction can ordinary people kowtow? The buffs are stacked like this, and anyone has the confidence to say, "I just have to rely on myself"!
In "The First Half of My Life", Luo Zijun's fate line implements "the old one doesn't go, the new one doesn't come", He Han fell from the sky, and he was willing to clean up all kinds of messes, and the strong woman in the workplace said that she would transform;
In "The Golden Years", Zhu Suosuo is also not very powerful in his original family, but he can't stand his fate: the good leader Yang Ke teaches him and doesn't want to be beautiful, Secretary Fan can become an alliance, and the more critical heavyweight Lan Yan Ye is cautious.
Good things have made them catch up.
There is also a sharp comment on "Xi Bao" on Douban: ugly girls write beautiful women, and second-class citizens fantasize about the upper-class and new-school Xigong Niangniang rolling green onions. It can be regarded as a sharp commentary on Shitai's literature.
Xiao Yingxuan, a young teacher at the School of Liberal Arts of Shandong University, mentioned in an interview a reflection of the psychology of the visitors:
People love to read an online article, most of the time not because it is "correct", but because it is "good-looking". What looks good is often not correct - I know that the president's essay is a fantasy, but if my emotional structure is to see the president and I am happy, then there is room for it.
3. Implicit discipline
After the adaptation of Shitai's novel, in the context of the Internet, it is highly consistent with the communication mechanism that the public likes to see: condensed golden sentences, fashionable clothing.
When the heroines of Shitai were carefully made into OOTD pictures in the play, and everything from the brand, price, and even lipstick number to flat was widely disseminated, the fashion feast began.
In fact, there is a hidden discipline here: who you are, what clothes you wear, and what bag you carry are not only about decency, but also represent identity.
If men are compared to what cars they drive and what watches they wear, women are like large "puppet pendants" standing next to men, and they are decorated when they are taken out.
It is a kind of freedom for women to please themselves, and it is also a kind of freedom for women to please themselves, and I hope that the latter can be more.
In addition, the magnificence of the world of light and shadow and the atmosphere of social news have formed a stark contrast in recent years. When all we see on the screen are petty bourgeois-style romantic and petty bourgeois women, it is a female fighter pilot, a goddess gunner, a young mother with a child to deliver food, and a female worker who moves bricks on the construction site that is not inferior to a man.
The shaping of the image of elite women is certainly an encouragement and guidance, but at the same time, we must also be wary of the subtle secular erosion brought about by it. Not only is it beautiful to be gorgeous and exquisite, but it is also beautiful to be simple and unpretentious. There is more than one side to the power of female workers.
It is good for the heroines of Yishuwen to bloom on the screen, but behind the appreciation is vigilance.