#戏儒人生 #
As Li Chengru's personal video column, each issue of "Drama Confucian Life" will share Li Chengru's various sharp views on the film and television industry. In the sixth issue of the newly launched program, Li Chengru gave a unique insight into the adaptation of biographical works.
Many screenwriters will carry out secondary creations based on historical data, adapt them in combination with the current film and television market demand, and integrate some more dramatic and conflicting bridges to meet the audience's aesthetic tastes, so that the TV series has higher ratings. Proper adaptation can add more highlights to the plot and arouse the audience's interest. However, more and more screenwriters are going further and further down the road of over-adaptation, and the works are seriously out of touch with reality, and some even reach an outrageous degree.
Li Chengru said that in recent years, there have been too many dramas in China's film and television market, which have nothing to do with history. In his opinion, many screenwriters do not have the ability to write a good history, but simply pick out the available materials from all dynasties and piece together some historical figures, in other words, a smorgasbord. Before young people have formed the correct three views, it is easy for these pieced together histories to be correct history, thus forming a wrong view of history, which is undoubtedly very misleading.
If piecing together history is outrageous enough, then adapting history is even more infuriating. In some works, the dynasties and characters are completely reproduced and performed, which is very different from real history. Such a number of seats will instill a wrong concept in the audience, especially the young audience, through some network dramas, TV series to understand history, more likely to fall into the wrong concept. Future generations will also be affected by such improper creative methods, continue misconceptions, and form a vicious circle, which is extremely unfavorable to the development of the entire film and television market.
Li Chengru believes that these extremely unserious creative techniques come from jokes from more than a decade ago, such as "Joke about Qianlong", "Prime Minister Liu Luoguo", "Kangxi Micro Service Private Interview" and "Iron Tooth Copper Tooth Ji Xiaolan". Because these jokes were not stopped at that time, they became more and more unmanageable. Over time, the atmosphere of adaptation has become more and more popular, and the continuation of the film and television market has made the film and television market works uneven, and the quality of the script cannot be guaranteed. The screenwriters made drastic adaptations of history, which seriously violated historical facts and created some fictitious content.
Taking "Prime Minister Liu Luoguo" and "Iron Tooth Copper Tooth Ji Xiaolan" as examples, Liu Luoguo and Ji Xiaolan are both famous figures in history, and mentioning them will also think of another historical figure and Yan. But whether it is Liu Luoguo or Ji Xiaolan, these two characters do not have much intersection with Hezhen in history, and the ages and ages of the three are also different, but the screenwriters are deliberately rendering their connection with Hezhen, and compiling a lot of details of the characters' relationship, which will naturally leave an established impression on the audience, judging that Hezhen has a close intersection with them.
There are countless film and television drama works like this, because these plays do not have a good grasp of the scale of adaptation and make good demonstrations, which leads to the current screenwriters being more unconventional adaptations, and even characters who are not in a historical dynasty can be placed in the same plot. Judging by Li Chengru's criteria, these plays cannot be called good plays.
In different eras, audiences have different criteria for evaluating the quality of film and television drama works. In the past, people did not pay enough attention to this aspect, and only used jokes to refer to works. However, this play is not the same as acting, the meaning of the game is more, so it is allowed to adapt the history for after-dinner fun. It is precisely this entertainment that has affected the development of national culture to a certain extent.
In the future, there will be no more jokes that are Li Chengru's wishes, and even if they are jokes, they should be adapted in a reasonable and realistic way, rather than allowing subjective imagination to arbitrarily tamper with history and add drama to characters.
With the popularity of the Internet, audiences have long been accustomed to various film and television dramas. For most people, film and television dramas are more used as a pastime, so that they can breathe in the fast-paced life. Once the entertainment function of film and television dramas is respected by the public, it is easy to form a bad atmosphere of entertainment to death, which will not only output wrong ideas to the audience, but also is not conducive to the development of the film and television industry, which is not a long-term solution.
This puts forward higher requirements for film and television industry workers, to deal with history with a more prudent mentality, and to carry out reasonable adaptations within the scope of not being divorced from reality. At the same time, it is also necessary to strengthen the reserve of historical knowledge, clarify different dynasties, different figures, and different events, and avoid the phenomenon of Zhang Guan and Li Dai.
Respect for history is the basis for the screenwriters' secondary creation, and adaptations within a reasonable range are worth advocating. Nowadays, the quality of film and television drama market works is uneven, entertainment and homogenization abound, and there is a lack of high-quality historical dramas with clear logic and meticulous thinking, which is something that needs to be reflected and solved urgently. Blindly catering to the capital market is bound to be difficult to produce good works, and screenwriters should respond to the rapid changes in the film and television industry with a vision of development and practical changes.