Film and television dramas not only reflect the humanistic connotation in the selection of materials, but also often imply strange characteristics and complexities in the emotions conveyed, focusing on the humanistic value and inner emotional appeal, and exploring the strange feelings and deep meanings hidden in the depths of human emotions.
"Strange feelings" are relative to "vulgar feelings", and their value standards are also very different from ordinary feelings.
Li Ao believes that the standard of vulgarity is the word "exhaust", but the standard of strange feelings is much higher, and it is a word "abandonment".
He believes that "'giving' is a combination of wisdom, contemplation, art, and determination, and one of its characteristics is that it often transforms the 'progressive' tense into the 'past tense', and it often stops abruptly at the midpoint of the vulgar standard, as the end point, at the juncture of 'it seems to be not over'."
That is to say, "abandonment" is a quick decision, an early retreat, a wise sword, a strong man's broken arm, a meritorious but not a residence, a thick makeup, and a ruthless place.
The emotion of this kind of "renunciation" in many plays is not only isolated and hindered by the era, external environment and cultural concepts in an objective sense, but also subjectively "quick decision" and "ruthlessness".
Cheng Dieyi, portrayed in "Farewell My Concubine", blurs gender and orientation in the process of his self-perception of "drama is like life", and this change is shown through a series of metaphorical plot passages, which become an invisible clue to the narrative line.
He really turned himself into a "Yu Ji" who never gave up following the overlord of Western Chu, but it is a pity that Duan Xiaolou, who he is attached to, is a complete "fake overlord", a person who clearly separates life from the stage, and it was not until the last moment of his life that Cheng Dieyi recognized this fact and ended a sadomasochistic relationship that violated ethics.
And the love between Duan Xiaolou and the prostitute Juxian is not vulgar, it transcends the eyes of the world and retains pure feelings.
Juxian's daring to love and hate, she gave everything to Duan Xiaolou, she and Cheng Dieyi are rivals in love, but they can also beg for help from their rivals in love to save their husbands, and they will in turn rescue Cheng Dieyi when she is in trouble.
But after all, she couldn't live a good life in peace, at this time of impetuousness and panic, he was deeply hurt by Duan Xiaolou's ruthlessness and unrighteousness, recognized the reality, and also despaired of the reality.
It is undeniable that her love with Duan Xiaolou is sincere and sincere, but such strange feelings and sadomasochism can often only end with "giving", leaving deep feelings and inexhaustible feelings.
Different from the traditional "love triangle", "Tuya's Marriage" uses a true story of "marrying a husband and raising a husband" to illustrate the emotional intertwining and inner entanglement of "one daughter and two husbands" in a specific situation.
Tuya wants to remarry with her husband Battle and their children, and needs this man to take care of the disabled Battle and their two children.
Tuya's "sacrifice" to her husband's "loyalty" is a typical "ruthlessness and affection", which is difficult to "give up" affection and responsibility, and is a sincere "strange feeling" beyond "vulgar feelings".
And this story of "marrying a husband and raising a husband" is always full of sadistic entanglements.
First, Tuya's classmates came to propose marriage and arranged for Battle to be in a welfare home, but Battle missed the child and committed suicide by cutting his wrists, Tuya rescued Battle and returned to the grassland with the family.
Then he met Senge on the way to the herd, and he was willing to take full responsibility for taking care of Bartel and the children, and lived on the ranch with the Tuya family.
It seems that the matter has been resolved satisfactorily, but at the wedding, Senge and Battle get into an argument.
When telling this real and bizarre story, the screenwriter chooses a life-like perspective, calmly and rationally looking at this peculiar love relationship and emotional entanglement, forming a tense contrast and aesthetic feeling.
The emotional emotions and warm humanistic care of people are highlighted in a dramatic way, and the portrayal and expression of the characters and the plot of the drama are taken into account.
The picture in this article comes from the Internet
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