The screenwriter of "Northern and South" responded to the suspension of the plot, "This is my atmosphere and my life"! "I don't understand the audience or the market, I only understand myself. What I want to express is my understanding of the world, not the audience's understanding of the world." This passage reflects three-layered problems: the same temperature in a seller's market I've stayed in bed for too long
There is a sentence in this interview that is right, and I seem to have just realized: However, in recent years, our film and television works have been much richer than in the past. What to watch; things are different now, the audience can choose what to watch. Since we know that the audience now has more choices, why do we still insist on self-expression? It's not just because we are in the industry, we have resources and channels, and the script can be directly put on the desk of director Feng Xiaogang. I don’t know that there are countless scripts in China waiting to be seen by big directors and companies. Just like the huge number of resumes, there are countless scripts that will not even be seen.
Just because I am friends with Director Feng and Teacher Xu Fan, this script can be filmed... but the content is to turn the lives of several sisters in my circle of friends into a drama, and you want the audience to buy it?
We are now in the era of big data. Advanced apps can push messages to thousands of people based on user preferences. User preferences are pervasive and can monitor everyone’s daily conversations to push messages. Well, there are still people who say, "What I want to express is my understanding of the world, not the audience's understanding of the world." To say this is so detached from this era! Art comes from life, not from your life
The first question can lead to the second question, which is that art comes from social life, but there is another sentence to this sentence. What the audience wants to see is not Dai Xiaoyu, Bao Xue, and You Shanshan adapted from the screenwriters, but the typical images of contemporary women represented by Dai Xiaoyu, Bao Xue, You Shanshan, and others.
Artistic creation is a typical example of creative art. It needs to show the essence of social life and summarize the universality and universality of things or people. Chairman Mao once said that art should be "more important than real life" Higher, more intense, more concentrated, more typical, more ideal, and therefore more universal." But judging from the transcript of this interview, this drama is about the few people the screenwriter knows, plus " The photos taken by some wealthy people in the entertainment and investment circles do represent them.
So why do these contents occupy public resources to be broadcast on iQiyi? Let’s go back to point 1, because you have the resources, you can do whatever you want, you can take photos of your friends and show them to the audience, and you can express your incomprehension to the audience for not understanding your friends...
But the result It is similar to what was said in the interview. After updating 18 episodes, all 30 episodes will be released directly because there is nothing worth chasing. For example, "Dream of Red Mansions" was written about Cao Xueqin's own life circle and circle of friends. Then why can "Dream of Red Mansions" move people from generation to generation? We didn't even live in the Qing Dynasty, so why do we still have a resonance with "Dream of Red Mansions"? ?
Some people may say that the example of "Dream of Red Mansions" is too extreme. Let's take a recent example. Just before the broadcast of "Dream of Red Mansions", the previous part had a high score and a high amount of discussion on the Internet. The play is "Rebel" by Zhu Yilong. Why doesn't anyone say "Rebel" is levitating? The audience neither lived during the Republic of China nor had they been secret agents. Why were they able to watch "Rebel" with gusto, but not be able to watch the first episode of "North and South"?
For example, the sister mentioned in the article: her only hobby is making money. She was trapped in Japan during the epidemic and earned 6 million yuan from stock trading in less than a year! We believe there are such people in this world, but you can write about how she did it and what makes her extraordinary. Even the smallest details are worthy of convincing. Or if there is any sexual nature of this group of people or this kind of people that can be explored, the audience must be curious, but in the end nothing is said, and there is no characterization at all.
For example, Webmaster Wang, the "Fish King" in "Rebel", is a 100% fictional character, but why the audience likes him and discusses him a lot is because he represents the past. The current image of bureaucracy in the agency. Although his professional ability is average, he is flattering, submissive and submissive, and his methods of secretly scheming with his colleagues are excellent, so he doesn't do much work. Even if this character is fictional in history, the audience will feel as if he is a person in their own lives.
What the audience sees is not the real Webmaster Wang in history, nor the real Webmaster Wang himself as written by the screenwriter, but the "fish kings" like Webmaster Wang around him. Not being down-to-earth doesn't mean you can't write about people like You Shanshan, and Jia Baoyu is even less down-to-earth, but is there something behind this person that can connect with the audience emotionally? If the Louvre is closed at night, is the Mona Lisa still a work of art?
This question is a very interesting question in reception aesthetics, which discusses the nature of works of art. That is to say, if a work of art is not seen and accepted by the audience, is it still a work of art? Take the painting "Mona Lisa" as an example of this problem.
As we all know, "Mona Lisa" is an objectively existing painting, just like "North and South" is also an objectively existing online drama; whether people watch it or not, "Mona Lisa" " is hanging in the Louvre; similarly, whether people see it or not, " North and South" is also hanging online.
So here’s the question: You don’t have to watch it, but don’t get angry while watching it. If you don’t consider the potential audience, then what’s the point of writing about it and filming it? Art works have aesthetic value and social significance only because of their acceptance. If you explain the whole thing with the concept that the audience "can not see it", you will be speechless. I am afraid that no platform will dare to cooperate in the future, because the point of view is that it does not matter whether you see it or not.
This point of view is really confusing. I can only say that I have been in my own "stratosphere" for a long time, and suddenly came out to occupy public *** resources and found it a bit uncomfortable. French esthete Dufhener said: "Is it true that after the last visitor to the museum walks out and the door closes, the painting ceases to exist? No. Its existence is not perceived. This is true for any object. All we can say is: at that time it no longer existed as an aesthetic object, only as a thing.
If one wishes, one can also speak of it as a work..."