Traditional Culture Encyclopedia - Traditional festivals - Why do sitcoms in the 1990s still have influence?
Why do sitcoms in the 1990s still have influence?
Sitcom was quite prosperous in the 1990s, and it still maintains considerable influence in the new century. Ying Da's creative team continued to release the Northeast Family (200 1, * *120 episodes) and the idle Ma Dajie (2000? In 2002, ***267 episodes) and other large-scale works, in addition to "Home with Children" (2005? In 2008, ***4 episodes 367), the story of the cookhouse squad (02? In 2007, ***68 episodes) and other plays with high replay frequency.
Although these works continue the tradition that I love my family in form and temperament, their cultural connotation has undergone fundamental changes? To some extent, they become a kind of social ethics drama in the form of comedy, almost completely giving up the natural satirical function of comedy as an art form and becoming a relatively pure "language art"
The most influential comedies in this period are the 80-episode "Zhang Hui Scenery in Ancient Costume" and the "Legend of Wulin" broadcast in 2006. The play takes Tongfu Inn, a virtual town in the Guanzhong area in the Ming Dynasty (about 10,000 years), as the main scene, and tells the story of the relationship between the owner Tong Xiangyu and several buddies.
The story and symbol system of the play have been completely divorced from its specific historical context. The creator used the visual symbols of the Ming Dynasty to "collage" a large number of popular elements in modern society, especially popular language, which left a deep impression on young audiences. There are even western cultural elements such as English, Shakespeare and Bacon in the plot, as well as variety shows, computer Windows boot music and many "classic" scenes in Stephen Chow's film A Chinese Odyssey, which became typical parody postmodern texts in this period.
For the audience, this passage is not only extremely rich, but also profound and decentralized. It opposes recognizing the authority of any isolated or self-consistent value system, but believes in "chaotic" political correctness. As some commentators have said, the audience of Legend of Wulin must "read Jin Yong, Gu Long and Wen Ruian thoroughly; Read Four Great Classical Novels; English must pass at least CET-4; Love to watch entertainment programs such as "I guess, I guess, I guess"; Familiar with all domestic TV advertisements; Various intra-party discussions are familiar; He is also proficient in pop music, from folk songs to rock, especially rap; ; Besides, the more Chinese dialects you know, the better. You also know a little ancient Chinese. "
Compared with the explicit recognition and dependence of I Love My Family on a specific time and space (China urban families in the mid-1990s), The Legend of Wulin pursues an abstract humorous effect that transcends time and space, and is a rigid structure with consistent interests guaranteed by the contract principle and a flexible structure with love and friendship? The ultimate effect of "the ideal existence of civil society" is to completely dissolve the elite discourse.
. Therefore, in a sense, the popularity of The Legend of Wulin shows that the emerging Internet culture has begun to have a strong impact (or transformation) on the traditional TV culture, because it not only forms a distinct difference from the traditional TV comedy in form, but also puts forward a requirement for the audience to go beyond the one-way dimension of "appreciation level".
It does not intend to influence all audiences in a civilized way, but to anchor some audiences to make targeted productions from the beginning. These audiences often have similar life experiences, discourse styles and cultural consumption habits. What the creators seek is to communicate with these four specific groups in a post-modern cultural system.
Although The Legend of Wulin achieved an impressive audience rating of 9.7% when it was broadcast on CCTV, its influence spread mainly in the Internet world. Later, it was also proved that this highly networked and postmodern comedy did not continue to appear on the traditional TV platform, but continued to develop in the form of Internet video products, especially online self-made dramas.
The event that can best highlight the typical characteristics of TV drama culture in this period, besides the popularity of the sitcom Legend of Wulin, is the "Dream of Red Mansions" global Chinese talent show launched by Beijing TV in August 2006 to remake the TV version of Dream of Red Mansions. After the event was launched, it quickly attracted 450,000 people to sign up, far higher than the sum of all other talent shows in the same period. Man in a Dream of Red Mansions has all the elements of talent display in mechanism? Schedule, competition system, elimination, promotion, resurrection and voting, so the draft itself has become a sensational TV phenomenon.
This TV series is planned to be produced by four companies: Beijing TV Station, China Film Group, Lu Baihua Na and Xinbaoyuan, with a total investment of over 654.38 billion yuan. As an actor selection mechanism, the draft has 654.38+00 divisions nationwide, including Taiwan Province Province. [1 173] This TV media event, which was once praised by the media as "an ice-breaking trip to promote excellent traditional culture", was finally accused of "putting on a show" and "vulgarity" because of a series of inappropriate and outrageous marketing hype.
This 50-episode TV series was finally officially broadcast on 20 10 after a controversial "director change" storm, but it was not replayed by TV channels. If we make a simple comparison between the casting process of 1987 version of A Dream of Red Mansions and this version of A Dream of Red Mansions, it is hard not to feel the change of TV culture. The actor selection process 20 years ago was regarded by the creators as the purest artistic process to pay tribute to the original work, but the "draft" 20 years later turned itself into a part of the attention economy of TV dramas.
As the most representative "adaptation of famous works" in this period, the new version of A Dream of Red Mansions not only realized the commercialization of the content itself in full accordance with the mainstream production logic, but also skillfully transformed the production process into marketable goods. In the 1990s, masterpieces that were still cautious and treading on thin ice were rewritten. At this point, the boundary between "serious culture" and "popular culture" has been completely broken.
In the new century, TV series completely dispels elite discourse from its own image temperament, and while gaining unprecedented freedom, it also becomes an important creator of the pan-entertainment process of TV culture irretrievably. Generally speaking, the theme, form and temperament of China TV series in the new century are obviously more in line with what a mature commercial TV system should have. The creator completely abandoned the yearning for the overall cultural value and turned to pursue a refined, detailed and diversified expression system.
Although the long-standing main trend of realism in China TV drama culture continues to develop, it has quietly become an abstract and mechanical "skill". Even this "deformed" realism should be more or less integrated with elements of commercialization and entertainment to meet the audience's acceptance needs. In this sense, since the birth of 1958, China's "orthodox" TV drama culture has gradually declined and come to an end.
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