dormant for three years, Zhao Baogang shot again. The TV series "Youth Fight" directed by him will be launched on Dragon TV on the 22nd. This time, he focused his lens on the lives and growth of young people today.
Including "Youth Fight", recent screens, various types of reality TV dramas are becoming "screen masters": The Beijing-style period drama "Sesame Hutong" has been steadily rising since it was broadcast, and has maintained a prime rating. The position of the laurel crown; "Everything is Good", which focuses on family emotions and ethics, received rave reviews after it was broadcast and became another phenomenon-level hit. Judging from the recent announcements for the record of TV dramas, of the 82 dramas announced, there are only 8 costume dramas, accounting for less than 10%. All of these seem to further confirm the reality of the 2019 "Big New Year".
Realistic theme New Year? Domestic drama Xiaonian?
In fact, reality-themed film and television dramas have reached a new height in 2018. In terms of the broadcast ratio of TV series, reality-themed TV series have achieved an overwhelming victory. In terms of influence, a number of main melody dramas including "Big River" have won both word of mouth and ratings. In the view of industry insiders, the vigorous guidance of policies has promoted the prosperity of the creation of realistic-themed film and television dramas, and the heart-warming power behind realistic works is the fundamental reason for its blowout. While the reality theme ushered in the "big year", Chinese TV dramas ushered in the "small year" in production. China has always been a major producer of TV dramas. In recent years, the annual output of domestic dramas has remained above 400, especially in 2015, when the annual output of TV dramas reached 535. At the Shanghai TV Drama Production and Broadcasting Annual Conference held earlier this month, the disclosure of a set of data is quite interesting: the number of new dramas on the market has been declining in the past two years. There were 241 in 2017 and only 194 in 2018, the lowest in 10 years. . Compared with 391 in 2012, it has been reduced by a factor of two. Synchronized with the decrease in new dramas, the number of TV series episodes is declining. The average number of TV series approved in 2018 was 42 episodes, a decrease of 1 episode compared with 2017, and a decrease of 3 episodes compared with 2016. The increase in the proportion of
cannon fodder dramas, there is no shortage of many "pseudo-realistic" drama series
, the decline in production, and has not solved the problem of overcapacity of domestic TV dramas. On the contrary, the proportion of "cannon fodder" dramas has further increased. Zheng Weidong, a senior data scientist in China from
, revealed that in 2018, there were no major TV dramas with a single channel ratings of more than 2% in 100 cities across the country, while there were as many as 9 in 2015; the advantage of ratings between 1% and 2% There were only 30 plays in 2018, accounting for only 4.7%. The industry generally believes that TV series with less than 0.5% ratings are "cannon fodder dramas." The proportion of this part of the series further increased in 2018, reaching 82%.
According to Wang Leiqing, director of SMG Dragon TV and director of film and television drama center, on the one hand, in 2018, capital ebbs, flow failures, lack of hot money, collective misfires of big IP and big investment; on the other hand, the phenomenon of homogenization of drama content It still exists, "The same routine, the same pit, similar slots, and similar thunder: ancient costume dramas fell into the pit of fighting manacles, fairy tale dramas fell into the pit of upgrading and fighting monsters, entrepreneurial dramas fell into After the pit of bloody romance, nostalgic dramas have fallen into the pit of selling feelings."
Even if the situation is a great reality drama, accidentally will fall into the "pit" of cannon fodder drama. The first to bear the brunt is the abandonment of drama caused by the "suspension disease". The so-called "suspension disease" of
refers to the fact that although the TV series are based on realistic themes, the core of the story is still the "Mary Su" idol romance drama, which cannot withstand scrutiny in terms of logic and details. Works including "Warm Strings", "Returning", "Sweet Crit", and "The Years You Are Late" have all been criticized by the audience to varying degrees for this, and have somewhat affected the ratings.
"Returning" poster
pointed out by taking entrepreneurial themes as an example: “First, consciously stay away from the four big entrepreneurial dramas floating minefields: rich family grievances, car accidents, terminal illnesses, overbearing presidents, and heavenly nobles. The focus is on extensive interviews and rooting in reality. Zhang Guan and Li Dai accurately reflect the professional precision of the entrepreneurial drama's professional background; it is important to dig out the characteristics of the industry, and to refine the quality and innovative drama conflicts in the industry characteristics."
calls for the real realism film and television drama "Big New Year"
China TV dramas have always had a tradition of realism, and the core of realism is seeking truth. Including "Desire", "OverThe TV series produced by Beijing, Shanghai and Guangzhou coincided with the era. Zhao Baogang, who came to
with his new work "Youth Fight", his previous works have contracted many youth memories of the 70s and 80s. In Zhao Baogang's view, the reason why he can always capture young subjects and follow the pace of young people is because he always "contacts life, observes life, and goes deep into life." Recently, the popular family drama "All Very Good" has also been praised by netizens as "real and grounded".
On the occasion of the 70th anniversary of the founding of New China in 2019, realistic themes will still be "singing the main theme" on satellite TV. Whether it is "Ordinary World" or "Big River", their success proves that the present-themed tribute dramas are not themes first and rough content, but the best works that reflect the highest comprehensive creative strength of TV dramas.
"The truth-seeking gene is the evergreen root of Chinese TV dramas." Wang Leiqing said that a successful realistic TV series embodies the true observation of society, the true refinement of life, the true understanding of life, and the true value of Find. "Chinese TV dramas must refuse to use the guise of inspiration, under the cloak of struggle, and do pseudo-realistic works of floating dreams; they must also refuse to see things without seeing people, seeing people without seeing their hearts, and seeing things without real insincerity. The industry thinks. To touch the sincerity of the audience, we must first show the true feelings of creation."
The real realism film and television drama "Big Nian" is not the success of a few dramas, but the common success of a group of TV dramas.
