Since 1983

In the morning, a family home.

Chen Changben took Xu Fei and knocked on the door of a house. The old lady who opened the door asked doubtfully, Who are you looking for?

Is Director Liu at home? We are here to visit.

Old Liu, I'm looking for you!

Not long after, an old man in his seventies came out of the room. He identified him first, and then said, Oh, Xiao Chen, come in quickly.

This person used to be a high-ranking official in the capital city. After retiring, he was appointed in a crisis and became the director of the National Language Work Committee. He took office in 1985 and retired in 1987.

The time was short, but the tones of Chinese characters and Mandarin were finally established through his visits and investigations reported to the central government.

The three sat down in the living room. Xu Fei introduced himself. He had never seen the alley, but he knew it when he mentioned the book.

The film and television drama is self-cultivating, and every issue does not end, and I even cut it out.

The old man found a newspaper clipping, and it really contained those ten articles.

Newspaper clippings, a popular phenomenon in the 1980s and 1990s. When reading and reading newspapers, I found interesting words and pictures, cut them out and pasted them on the notebook. Like a pen pal, it has a sense of the times.

Director Liu...

Don't call me the director when you retire.

Uh, good. I'm here today to ask you to talk about something. I wonder if it's convenient?

Xu Fei handed over the review from the China Youth Daily, and the old man put on his glasses and took a look, Oh, I've seen this, and it makes sense. What's wrong?

I also think it makes sense, but it's too absolute and somewhat one-sided...

He came prepared, Balabala chatted for a long time, and left satisfied.

…………

When it comes to language unity in TV dramas, dialects are not advisable.

Let the tradition remain in the tradition, and there is no need for regional differences in new works in the new era.

On the influence of film and television dramas on young people.

In the past two days, the discussion caused by the article has a tendency to expand.

Some people began to support this argument, emphasizing that Mandarin must be used in film and television dramas, and geographical barriers must be eliminated. Hutong is doing the opposite.

In later generations, this kind of debate before and after the award ceremony would usually be used in the fan circle, and there would be a wonderful fight.

Of course, there is no such thing now, even if you want to black, the premise is to discuss the art of film and television, by the way, let’s bury the alley.

Li Mu couldn't sit still anymore, so he called Xu Fei over.

Don't you never suffer, kid? Why don't you even fart after being scolded for two days?

Just as I was about to release it, I was called by you.

Xu Fei took out a manuscript, I'm collecting information, and I don't fight uncertain battles.

Li Mu read it carefully three times and asked, Where are you going to vote?

China Youth Daily.

Well, let's talk about the facts, don't mention the Golden Eagle Award. You don't know the result yet, you have to blow it out, and if you don't win it in the end, the whole station will embarrass you.

understand.

...

The next day, China Youth Daily published another article.

Also on the Regional Differences of Film and TV Dramas

First of all, I would like to thank that man for his attention to the Hutong. He has really studied it deeply. There have also been many voices recently, and he said it in a gentle and kind way. Thank you also.

Here to talk about my point of view.

There are indeed regional differences in the current film and television works. The man believes that the way to eliminate the differences is to speak Mandarin and tap social commonalities.

Let's talk about Mandarin first.

In the past few days, I have visited an old gentleman who has presided over the reform of language and writing, and said that he has encountered many practical problems.

For example, how to promote Putonghua in opera?

The opinion of the working group is that traditional local operas such as Cantonese opera and Yue opera can continue to use dialects, otherwise they will not have traditional characteristics. The newly compiled opera programs should promote Putonghua as much as possible and reduce dialects.

Another example is how to standardize Chinese characters in calligraphy?

The opinion is that, as a written communication tool, the norms should be strictly followed. As for the art of calligraphy, a hundred flowers can flourish, and one should not insist on uniformity.

As for the group's attitude towards film and television dramas, it is required to use less dialects, and some can be used or not, and they should strive not to use them.

I sincerely admire the old man and the working group at that time. They gave art enough buffer space, and they didn't beat them to death with a stick, forcing the standardization of film and television works.

First of all, I fully support the popularization of Mandarin, but I am opposed to the one-size-fits-all art works.

I also participated in Plainclothes Police, which is all in Mandarin. Because it is a drama, the style is serious.

Hutong speaks in dialect, because it is a sitcom, it is relaxed and humorous. Film and television dramas must portray characters and highlight effects, and dialect is a means of expression.

Yu Langu's sense of speaking Wuhan dialect is better than speaking Mandarin. What's more, she didn't speak a pure dialect. I asked her to stay close to Mandarin, just to make the audience understand.

There are also types of dramas that are now being advocated, such as filming a police drama, where the police catch a prisoner and ask people from other rural areas. You said he speaks Mandarin well? Or is it more lively with a little accent?

Or just ask directly, why can there be Yue opera TV series and Huangmei opera TV series, but dialects cannot be spoken in hutongs?

I think you need to have an attitude, you can't be deliberate for the sake of being deliberate, and say what is appropriate, then say what you say.

Let's talk about commonality.

That brother’s point of view is a bit absolute. It’s not about digging out the commonality to break the geographical barriers, but the quality.

When we talk about the regionalism of film and television dramas, the roots are actually in the whole society, which changes with the development of social productivity and technology.

Knowledge of the world is very important.

A native of the northern countryside certainly cannot understand Cantonese, but he has gone to school, stepped into the society, and been exposed to various things, such as Hong Kong and Taiwan music, he may be able to sing a Cantonese song fluently.

Similarly, a child who grew up in the south goes to university in the north, and his classmates come from all corners of the country, each with their own habits. These things blend and understand together, and his cognition is not limited to his hometown.

Or people in two cities don't know each other, but they use computers to send emails and become friends.

This is the result of the development of productive forces.

When the trains are getting faster and more people are flying, you don’t need to plan for half a month to go to the provincial capital, just go away... People and information from all over the world communicate with each other, and the barriers between regions are easily broken... ...

In the 1980s and 1990s, film and television dramas had this problem.

The early Feng's New Year's films could not pass the Yangtze River, and southern audiences were not interested in Beijing-style humor. Later, the social level became higher and higher, and in the information age, Feng Pants still played with that kind of stuff, but southern audiences loved it.

Of course, Old Mother and The Foreign Wife and the Local Man are really incomprehensible to outsiders.

...

In a compound, another big leader wearing glasses reads a newspaper.

I'm in my fifties, and I just took care of this job not long ago, mainly in movies, TV dramas, news newspapers and so on.

He read it very carefully, and said with a smile: This point of view is very interesting, and it can explain regional and cultural differences from this perspective.

It's not new. Toffler wrote in The Third Wave that the emergence of computers has gradually brought humans into the information society. This Xu Fei, at most, applied some theories. The secretary said.

That's very rare. There are quite a few people in the literary and art circles who know how to film, but there are not many people who can film and have ideas, especially at such a young age. The Third Wave has been introduced to China for several years, and I have not seen anyone in the literary and art circles. I read it. Do you think it has nothing to do with them? Big mistake...

The leader briefly mentioned a few words before turning to other topics.

But the secretary knew it well, and he remembered it.