Since 1983

This is an age of rapid collapse of faith.

We used to worship great men, martyrs, scientists, and model workers... We used to think that the world was like this, but when the reform and opening up came, everyone felt the impact and confusion of social change in just a few years.

Dai Linfeng took a sip of his tea and was directly attracted by the beginning.

Prior to this, our mainstream culture was all grand and various works with revolutionary narratives as the main body.

There are clear political boundaries between characters and values, those who support the revolution, those who oppose the revolution, those who neither support nor oppose... almost all film and television works can be summarized in these three categories.

But Shanghai Bund is difficult to define with a concept of revolution or non-revolution.

Its story theme and structure are gangsters, bloody violence, brotherhood, and love between children.

Its characters are three-dimensional and full. When we describe Xu Wenqiang, we often think that he is a good person, but at the same time, we cannot deny that he is actually a gangster.

This is exactly the success of Shanghai Bund. There are no absolutely good people and no absolutely bad people in the world. Human nature is complex, which is the reality of life.

Our previous film and television works have infinitely converged on one attribute—political, so that it has erased its two inherent attributes: artistry and commerciality.

Some old Shanghai residents are criticizing this TV series, saying that the characters and social environment are not the real Shanghai, and that the show is not Shanghai Beach, but Hong Kong Beach.

Indeed, Shanghai Bund does not conform to history, but it meets the needs of popular culture.

This is actually a brand-new model of TV series, challenging our traditional concept, and it is a kind of cultural export...

Dai Linfeng took off his reading glasses, wiped them carefully and put them on again, and drew a line on these two sentences with a pen.

Although on the artistic level, they uphold the concept of promoting Chinese culture, but these masterpieces and novels definitely do not meet the growing spiritual needs of the masses.

The current audience is no longer satisfied with Wei Guangzheng's revolutionary narrative, and wants to see works that are more diverse, closer to life, or more in line with spiritual fantasy.

Old Dai!

Old Dai!

Seeing that he had entered the study and did not come out, his wife couldn't help but yelled a few times, but she didn't answer, so she pushed open the door and saw the old man sitting on a chair, holding a copy of the manuscript paper, motionless.

What are you looking at, so focused...

The wife muttered and closed the door lightly.

Cultural output must first have strong commercial value and cognitive commonality.

For example, Fearless a few years ago and this year's Shanghai Beach, first of all, audiences must like it, especially teenagers. Secondly, the two places have the same root and origin, and there is no cognitive difference.

Dai Linfeng continued to annotate with a pen just like reviewing internal references and reports. When he saw this paragraph, he couldn't help but wrote: Garrison Expendables and Blood Doubt are foreign works, not from the same origin, but they have become hot spots. Why?

After he finished thinking about it, he crossed out this sentence and wrote again: Garrison Expendables lies in war and growth, and Blood Doubt lies in disease and family ethics. There's an extreme hunger for new things.

Then look down.

Young people's concepts are not deeply rooted, and they are easy to accept new things. When they regard a work as part of their lives, it is easy to take root in the soil and form a real cultural gene.

Dai Linfeng frowned and didn't understand, after all, there was a time limit.

It's actually very simple. You understand the Marvel Dafa, right? Don't emphasize I don't like Marvel or I never watch Marvel movies.

There is also a group of people clamoring that Marvel can't abuse teenagers Barabara.

This kind of argument is very boring, because to put it bluntly, domestic films are still not good. If there are Operation Red Sea and The Wandering Earth every year, the Chinese film industry is getting better and better, and its own strength is strong, and the audience will definitely support it.

The concept of commerciality is difficult to express, and it can be summarized into two points: popularization and entertainment.

We have not been an economic society for a long time. In 1979, Modu TV broadcasted an advertisement for ginseng, osmanthus and tonic wine, which announced the birth of the first domestic TV advertisement.

Our works are more about promoting and criticizing social phenomena, and showing the living conditions of the people. There is no so-called popularization and entertainment at all.

However, with the development of the economy, material abundance, and film and television dramas with natural platform advantages, their commerciality will become more and more obvious, and even reach a decisive level.

Seeing this, Dai Linfeng couldn't help smiling, and wrote a note: It's an exaggeration.

Because there was no entertainment industry in the 1980s, no stars, so they were called literary and art workers. Everyone involved has an attitude towards works of art, consciously carrying a heavy burden, film and television dramas are very sacred things.

And finally, the manuscript reads:

Regardless of the theme concept, story structure, character creation, computer special effects, etc., we are very, very backward. Even the performance methods of many actors have inherited the habits of model dramas.

This is the case with Fearless, and the case with Shanghai Bund. If we don't work hard, in a few years or more than ten years, when foreign cultures march in, we can only be a passive object of export.

...

More than 10,000 words are eloquently written, with clear writing and clear logic.

Dai Linfeng read it word by word, and even read some passages repeatedly, so that his neck was sore and his eyes were dim, so he had to get up and do some exercise.

Sitting down after exercising, I felt unfinished, so I re-read it.

First of all, he fully agrees with Xu Fei's views on Shanghai Bund.

Due to the great influence of this drama among the people, even newspapers like Reference News paid attention to it not long ago. It is true that some old Modu people criticized it wantonly, and compared it with the TV series Under the Roof of Shanghai in 1983.

This is adapted from Xia Yan's play, the original Old Devil City, which is completely different from Shanghai Bund.

But Dai Linfeng feels that there is no need to compare, these are two different forms of expression. One follows history, and the other is more in line with public demand.

Then it also leads to the second topic, there are too few original works in China.

In the early days, there were no TV dramas, but filmmakers. Those filmmakers have very strong creative abilities, such as Li Tianji's Spring in a Small Town, Yuan Muzhi's Angel on the Road, Xie Jin's Women's Basketball No. 5, etc., are all classic works handed down from generation to generation.

Take last year as an example, A Blizzard Tonight, Red Rock, A Garland Under the Mountain (TV version), and Long Night Journey were all adaptations of novels.

What's more, Dai Linfeng holds conservative views on the two views of cultural export and commercial attributes, which always feels a bit exaggerated.

However, he absolutely supports our own film and television industry must forge ahead and avoid being killed by others.

Why……

The old man drank the cold tea without realizing it, and said to himself: This kid really has a lot of tricks.

He suddenly found that his impression of Xu Fei was very clear.

The first time, when I was researching the story line of Tanchun, I felt that it was extremely rare for young people to have ideas. Then I learned that he is good at painting and versatile.

The second time I watched Jia Yun's play on the set, I felt it was very fresh and brilliant, oh, she is still good at acting.

The third time is today.

The value of this manuscript is quite high, and it can be described not only as having ideas and being able to act.

Dai Linfeng is also a native of Liao Province. He participated in the revolution in the early days, and was later transferred to CCTV, where he sat all the way to the position of deputy director. His experience is comparable to that of others, and he knows that this kid must have something in mind.

Just like ancient literati who came to Beijing, they would vote their poems and scriptures to famous Confucians for recommendation.

The old man is more open-minded, otherwise he would not introduce foreign TV dramas and increase advertising business on CCTV. So he doesn't dislike this method, as long as you are genuine.

…………

After the first manuscript, the two reached a certain tacit understanding.

When Xu Fei had an idea, he wrote something and sent it over. Dai Linfeng kept it, but he never expressed his opinion, let alone asked him what he wanted.

In fact, when he was reborn, Xu Fei made a list of what he could do, and finally found that he was the best at his old job. It's just that the age is special, and personal behavior is restricted. It is necessary to expand contacts and cultivate relationships.

So don't watch him busy, the goal has always been clear.

Of course, he joined the crew of Dream of Red Mansions not only to cultivate relationships, but because he really likes this drama, and he was reborn after a hard time, so he naturally had to participate.

(Friendly push book Film Style)