Writing about suffering and romanticization
Let's break down what's called a "know-how."。
It is well known that the narrow meaning of knowledge youth refers to the group of young people who responded to national calls in the “uphills and downs” movement from urban to rural “troupe” in the 1950s to 1970s。
The corresponding “know-how” is more like a generic folk expression than an academic type of film。
Unlike the “urban love drama”, the “code of family ethics”, the “code of knowledge” does not contain any meaning of value, narrative structure, image language, emotional rhythm, it only vaguely describes the identity of the protagonist in the play, and it does not refer to a fixed occupation, class, race, but only to a group encounter at a given historical time。
In other words, it is sufficient to be considered a “characteristic drama” if it is directed at “the young” and even if it is based on an interfacing background and the main thread of “a group of people from the city to the country”。
Instead, the ambiguity gives a great place to play in the charades — “the charade is a basket of things”, which means freedom of creation and expansion。
The development landscape of the national “know-how” can be summarized in four stages:
The first of the “ching operas” was considered by some to be the year of the sun in 1982 and snow city in 1988; interestingly, the two were the same as the works of liang xiaoqiao。
"the year of the year."。
In the first phase, most of the founders were relatives of the movement, and the pain of being uprooted from their homes and the joy of fighting was the genetic remnant that coexisted with their memories, with the twin demands of “capturing back this experience” and “exalting pride in this experience”. Thus, the expressions of grief, suffering and heroic writings, which seem to be contradictory, coincided with the “know-how” of this period。
They tend to choose the background of the sad theme of “share hard”: heavy labor, broken relationships, sexual depression, lost future, uncertain return to the city, and so on, but in the process, the strength of strength, optimism, struggle, and often the ability to bring stories out of the equation。
The blizzards of the night, as well as the above-mentioned times and snow city, are, like the mother books that are classified as “injury literature”, a superstition of anger and no regrets in life。
It is not hard to see that china's “know-how” has two fundamental elements at its origin: historicalism (reflection) and idealism (adultism), or, indeed, rationality and poetry (theorism)。
As a result, after the second stage of development, there was a tendency for the “ching opera” to be more favourable: works such as the years of songs, our knower of youth, can be seen in the rich sense of the title alone。
Perhaps with the deepening of reform and openness and the improvement of economic conditions, young people who are ushering in new opportunities in the boom of a market economy are more open-minded, able to look back in a more tolerant and peaceful way, and, in the beautification function of memory, turn the past into a part of “reminiscent of youth.”。
Career progress has often also brought about a new sense of gratitude, linking current achievements to the grinding and exercise to which they were once subjected, creating invisible causal relationships, and extracting something like a “successful learning experience” — “it's a rural exercise” — which has begun to become a common expression。
The bend and the deep contradiction
The third stage of development was more complex, with the negative effects beginning to manifest themselves in “knowing qing is a basket of things”。
As a result, we have seen a great deal of subversion, a great number of types and anti-marriages, and, to put it bluntly, we have seen a great number of “fiction plays” and a great many “eight points in the evenings”:
We have seen the love stories and comedy books of " blood romance " " , " wheat into the city " , the utopia of field-pastoral songs, landscapes and indirects that have been removed from the grip of their original families, washed out of lead overnight, and upgraded to the best test of love for young men and women. Then, in the tan and sorghum fields, by the chicken coop and the pig coop, the joys, fun, joys and leaps that belong to school theatres and even to young idols are often played。
Red romantic poster。
We have seen in our youth 1977 that the relationship between the two of you has clearly prevailed over 1977, which was included in the title, over the restoration of the high examination, which is about the fate of the entire circle of knowledge, and that all the central issues — study, return to the city — are as if all were intended to “get together” to clear the service barrier。
We see in "sweet honey" that between the impotent cadres of deng's super-drama and sun's stigmatized and defiant daughter, the classic strong and weak structure of which is still a familiar prince, cinderella, the boss, in love with my old wing。
Even in mankind there are traces of this: although it highlights the motivation of everyone in front of the wheel of the times, and uses it as a motive for the vast majority of people, it is, by design or by accident, too widespread and superstitious to explain everything by using emotional dramas -- zhou ying yi refused to be a group secretary for love, and zhou yong went to guizhou for love。
Zhou zhou and hao dong mei in mankind。
These new trends can naturally be understood as attempts at pluralism and the return of human nature: the desire to perceive, express and have love is shared by young people, with no exception。
Moreover, television drama arts have evolved to the stage of maturity, and it is natural that certain market-tested and widely accepted types, topics, and styles have to be put in a stable pattern so that the audience can take what it needs. This is commonly referred to as “typification”, with different types, with relatively specific requirements for characterisation, trajectories and audio-visual languages。
And we said at the beginning, "the charades don't constitute a type, at least not a large type of prominent. It can then only choose to combine itself with powerful, classical, universal and even vulgar types in order to gain strength。
However, the thick tone inherent in the two words, together with the nature and writing of the popular drama, constitutes itself an incomprehensible paradox。
Attempts to connect with contemporary popular culture, to capture more viewers with a strong emotional resonance, to develop more business potential and rapid liquidity in the new industrial environment, have resulted in many types of elements being attached to knowledge of life experiences and interpersonal relationships, and in a multitude of aggressive, exaggerated, cynical, cold-minded and modern personalities being adhesived on the minds of the young, in increasingly amplified and even extreme conflicts, in joyful love killing, cp sentiment, majesticism or euphemism, as a concise background, a faded theme symbol providing a screen for all stories of passion。
Finally, the premise of the enlightenment has lost its specificity and irreplaceable: in addition to the northern waste, how is the text different from any contemporary urban love fairy tale
Such distortions and runaways have also indirectly led to creating fatigue and acceptance fatigue, leading to the collapse of the “christma” in the following years。
Rebirth and contemporary mission
Until the advent of the fourth stage of development — that is, what we call the recovery phase。
It is important to see that the subject of knowledge about qing, which has been transmitted by history, is still worth thinking about at this point. It is a huge gap between rural and urban areas in china and between developed and less developed regions in the east and west。
The construction of the “third line” in the 1950s and 1960s, and the “uphills and downhills” in the 1970s, are all specific interactions between urban and rural areas under specific historical conditions. Among them, there have been curves and pains, but the problems they are trying to solve deserve new treatment and answers today。
On 18 may 2021, tourists visited a simulated mine cave in a museum built in guizhou on six water plates. Xinhua association, tutuan
In short, the deep meaning of the new era of “know-how” lies in how we see villages and “underdevelopment” and how we see the life choices of going to villages and taking root “underdevelopment”。
Unfortunately, during the previous three stages of development, villages and “underdevelopment”, whether as a source of suffering, as a purgatory of youth, as a melting pot of gills, or as a stage of mass tragic comedy, are both objects and objects, which are cut apart from the self-fulfilment of the master, and exist as props, stage and text。
In their village, they say that after deliberately or unwittingly taking distance (time and space), elitist evaluations of others — thought-provoking, flirting, or borrowed as props。
Even if some works attempt to adjust themselves and bring their main perspectives back to the countryside, such as the famous family, the " north wind blower " , which directly uses the perspectives of peasant women rather than knowledge, the echoes are not smooth, and the disconnect between rural life in the first half and urban life in the second half is very severe, and they can be divided into almost two television plays, if not for the same group of people (a couple)。
The north wind blower。
By contrast, what is happening (or is reborn) as a charade, is a new weather and direction:
The village is no longer “the place where i used to take the grinding”, “the place where i spent my youth”, “the place where i harvested or lost love”, but “the place where i finally achieved myself”, not “the place where dreams began”, but “the place where dreams settled and satisfied”, and “the construction of the village” replaces “leave from the village”, the greatest goal, achievement and return。
For the first time, the human and rural values of the master have been combined。
How could this happen? The answer has to be from a bigger place. Looking back at these years, we are ushering in a historical discourse about village construction。
Four words: the fight against poverty。
In some of the new formulations and tone, the creators acquired new theoretical arms and began to move in the direction of new objectives. The “ching opera” is also “wide” in the narrow sense of the term: it is no longer “up and down the hill”, but rather a large pool of knowledge, advanced technology and management experience, moving back to the village front, taking root, building on rural resources, building new villages, and a new rural renewal strategy
“new village narrative”
The most typical piece is the mountain。
Instead of a general sentence, “the fire of youth and purgatory”, it truly presents the whole picture, the whole picture and the whole process of village construction。
The elements of east-west poverty-reduction collaboration, easy-to-poor relocation, labour export-to-poverty reduction, industrial poverty alleviation, education poverty alleviation, and overcoming formalism in poverty-reduction efforts are presented in a coherent, orderly, logical and rhythmic manner。
Landscape relocation scenarios in mountain sea。
The first half buried the local labor force in an ambush for the fujian workers - this is a short-term shortcut to rapid growth in poverty alleviation, with the latter part naturally drawing on pro-poor issues in education, such as children left behind and “back-to-back” to keep pace。
The two-fold structure of urban and rural areas, the definition of the identity of substitute teachers and pro-poor cadres, the scope and effectiveness of health insurance, neighbourhood and village relations, the clash of business and traditional ethics, the checks and balances of development and nostalgic rhetoric, the dual vision of reform as a pilot field and of utopia as a cultural utopia should be touched upon to give answers that are not available for the time being, and continue to be considered in the development and forward。
Village schools in the mountain sea。
The mountain sea has set a standard and a marker for this topic: from the age of knowledge, but not from that age, it is the flow and spectrum of history that is imported into another journey。
This is the contemporary version of a chronology story, a broader chronology story, a more ambitious and relevant one, and a more true story of “knowledge” and “young youth”。
Such a story could even jump out of the old school name of the "christ-know" called the "new country narrative" and be even more appropriate。
Once we look at "new country narratives", the audience is not limited to a few television shows, but there's a response from the big screen: "me and my home" and "come home at 1 am," and it's in this sequence。
From “downtowns” to “homes”, “towns” are not roadblocks that must be crossed in the direction of the future, nor are they the objects that await the future to feed them; rather, they are a dependencies, a roots, a seat on which to look more firmly at the future's points。
And to a certain extent, the story adds value in two directions to the main melody and the type of film: the common young man's hot blood-spirited legends, not just the realization of individual freedom of wealth and the global branding of companies, but the resolution of far-reaching and far-reaching problems — - the hollowing of villages and homes, the path of internationalization of chinese agricultural products... Then, the goal becomes stronger, the heart becomes clearer, the pace becomes more solid, and the sense of success, wealth and entrepreneurship becomes clearer。
Thus, the problems of the “know-how” in the last phase — the flat and vulgarization that followed the typologies, the problems that existed in the “know-how” in the last phase — and the difficulties of rationality and poetic compatibility in the strong tone of the narrative of this new village have been slow to explain。
There is no one in the world who is absolutely unpopular and absolutely obsolete, and only lazy creations that are not sincere enough to work with the audience, and that do not take on the weight of historical and contemporary missions。
Changing the landscape of backwardness for the benefit of the masses, the new socialist countryside, and building a small and well-being society ... This is the most precious opportunity for the “singling” of the present generation, and for the “singling dramas” of the present。
