Mainland actresses always look rustic, far less dazzling than Hong Kong actresses, which is the sigh from the bottom of their hearts after Hong Kong movies enter the mainland market. With the introduction of Hong Kong films to the mainland, a large number of women in the new era, led by Lin Qingxia, have suddenly entered the eyes of the mainland people.
At that time, under the rule of british colonies, Hong Kong's economic development and ideological development were far above the mainland. A culture that has never been seen before, suddenly broke into the lives of the mainland people, the lights on tv, female singers, since it has been greatly loved, the national goddess Cong Shan at that time, compared with the women of the new era in Hong Kong, it is slightly rustic.
<h1 class="pgc-h-arrow-right" data-track="4" > the influence of the era background</h1>
In the 1980s, Hong Kong films swept the country, the domestic economy was sluggish, the state was mainly distributed, food, clothing, housing and transportation were issued by the state regulations, the living standards of the Chinese people were not high, and the thinking was relatively conservative. Chinese mainland film and television themes were mainly based on the War of Resistance and agricultural production, and at this time Hong Kong films had begun to move towards a way of entertaining the public.
The name of the school flower of the Cong Shan Central Academy of Drama was well-deserved in terms of the aesthetic concept of china at that time and the casting of domestic films at that time. Cong Shan's famous work "Wrangler" tells the background of the times, the love story of the countryside.
Cong Shan's appearance is obedient and will not make people feel amazing, but the whole person carries a simple sweetness, which is in line with the image of the goddess in the hearts of the vast number of working people in China.
The intervention of Hong Kong films has changed this view, Hong Kong's mature film market is far ahead of The country in this era, and the films at this time are not only admiring the great labor spirit of the working people, but also expressing a modern life story, a style of urban life.
This style far exceeded the ideology of the people at that time in China at that time, just like the fragrance of osmanthus flowers that suddenly opened in autumn, which made people fascinated. Hong Kong actresses have exquisite faces, gorgeous clothes, and more mature makeup techniques, and in hong Kong's economic background, Hong Kong actresses appear more gorgeous and dazzling.
<h1 class="pgc-h-arrow-right" data-track="6" > second, exquisite character packaging</h1>
Cong Shan is the school flower of the Central Academy of Drama, but his poster photos are rustic, and the reasons are threefold. First of all, when taking pictures, the clothing is too simple, and there are no fashionable elements to show on the body, so the dress is too popular.
Secondly, when taking photos, hairstyles and makeup are not carefully sorted out, and even the basic foundation, lipstick, and eyeshadow are rarely used. Although such photos have a natural beauty, some of them are too simple to attract people's attention.
Finally, at that time, the domestic photography technology was far inferior to that of Hong Kong, and the camera angle and the facial light of the actresses during photography were not mature enough, and the management guidance for the body movements and facial expressions of the actresses when taking pictures was also relatively simple, resulting in a large number of domestic actresses' poster expressions and body movements were roughly the same, and it was difficult to make the domestic people feel refreshed.
When shooting the poster painting, the Hong Kong actress made fine adjustments to her makeup, hairstyle and dress. The angle and fill light are also better when shooting, and the actress's facial expressions and body movements are also more open and avant-garde. Hong Kong and Taiwan film and television dramas were already a product of commercialization at that time, and his need was more to entertain the public.
Under such a demand, the image of the actor himself is extremely favored, the actor's appearance should be exquisite and beautiful, and the management of the expression should meet the requirements, coupled with the social environment in which the Hong Kong actress was located at that time. They are more confident and more avant-garde, and in the poster, when they are dressed in more open clothing, the unique charm of women is revealed.
And our domestic actresses are more restrained and shy when taking pictures, there is no bold body movement, and the dressing style is relatively conservative, which in this case is rustic compared with Hong Kong actresses.
<h1 class="pgc-h-arrow-right" data-track="8" > third, the film and television plot is introduced</h1>
Falling in love with a movie star, usually through one of his works, we remember Lin Qingxia's temperament is unworldly and charming; we describe Wang Zuxian, who is not like a human woman, but is forgotten in the human world; we talk about Zhong Chuhong, we can't help but feel pity and unforgettable.
In the last century, the life of the Chinese people was more of an agricultural life, and at this time, the domestic film and television drama was based on the theme of war and farming, and the Chinese people inevitably looked tired. When Hong Kong movies flowed in, it was as if a new door had opened in front of the eyes of the Chinese people, and the paper drunk fans in the film and television were everywhere, making the young people at that time yearn for it.
The actresses in the movie are also dressed more fashionably, and their outfits are also diverse, far more than the domestic single ponytail style, which makes people like it more. When the domestic actresses are still wearing ponytails and cannabis braids, Hong Kong actresses have cut their hair short, slightly permed, and the new style has impacted the public's vision.
In the movie "The Oriental Undefeated of smiling proud of the rivers and lakes", Lin Qingxia's oriental undefeated role as a male decorator has become an immortal memory in the hearts of many people. We saw her on the screen, her eyebrows were like the blade of the sword, her sideburns were like the ridge of the knife, she was dressed in red, she had a variety of styles, she drank heavily, looked back at gu jian, and looked very feminine, killing the enemy with her fingers, calmly, smiling, and dusty like a fairy.
The wonderful and unforgettable movie plot makes us love the protagonist of the movie more deeply, unforgettable, and makes people's hearts worship. If you like someone, you will like everything about her, and you will feel that she is the best, and no one else can compare to her.
Wonderful film and television dramas, different film and television styles, attract the attention of the domestic people, leading a Hong Kong and Taiwan fashion style, the mainland film and television dramas have not been able to keep up with the trend of the times. Film and television stars are also separated from the audience's eyeballs, divorced from the audience's sense of identification with fashion and beauty, which is rustic in comparison.
<h1 class="pgc-h-arrow-right" data-track="10" > summary</h1>
Rustic and fashionable are just different aesthetic styles of different eras, and when Hong Kong movies did not flow into the mainland, domestic actresses are still the fashion vanes in the hearts of the people. However, when it is in line with the international community, it falls into the inferior position, and our national goddess Cong Shan appears rustic, which is only an inevitable result in the context of the times.
In 1995, she participated in the Hong Kong TV series "Jingwumen" starring Zhen Zidan, cong Shan played Qi Qiao, in which she stripped away her previous image, beautiful and beautiful, beautiful and cold, and had the gentle and lovely beauty of oriental women, which was loved by countless audiences.
Mainland actresses have never been rustic, but because in that era, China's economy was backward and incomplete, the domestic emphasis on culture and art and the level of development of film and television culture were far from reaching Hong Kong and Taiwan, and the earthiness of mainland actresses was only because they did not catch up with a good environment of the times.