Ultraman and Marvel launched a joint comic, the dimension wall is broken! Zhou Shen and Keqin Li sang "Wild Wolf disco", the dimension wall was broken...Time back to the end of 2018, pictures of Xu Jinjiang suddenly spread on the Internet. Some people say that the so-called Santa Claus is an old man with a white beard in a red hat. Lei Leopard played by Xu Jinjiang. Netizens used Xu Jinjiang's stills to perform various carnival parody and transformations, and they broke him. Xu Jinjiang is a traditional film and television actor who has become a hot spot in Station B, and is considered a spectacle that has broken the dimension wall. Similarly, Ji Xiaolan and Heshen were forcibly tied up as CPs by barrage, and Wang Peiyu, an old female student, was sought after in the post-90s generation. Both are considered to be a phenomenon that broke the dimension wall.
Xu Jinjiang's image of red hat and white beard in "Nine Pins of Sesame Officials" is considered to be the same as Santa Claus.
The so-called dimension wall is a concept from Japan, which mainly refers to the wall between the two-dimensional animation world and the three-dimensional real world. Later, this concept was magnified into clear boundaries between different audiences and groups of people with different concepts. In particular, some subcultural groups have gathered in the Internet age to comfort and hug each other, and jointly resist the prejudice and hostility of the outside world, and form their own vocabulary to construct their own small culture. Gradually, people in various circles showed a trend of communityization and began to contact offline.
turned out to be self-inflicted and uncontested. The original intention of some people was to establish a dimensional wall to protect themselves. The establishment of the Dimensional Wall allowed people with similar interests to gather. However, the times changed, and certain circles began to be dissatisfied with their enclosing spontaneous sprouts, and began to see people outside the wall displeased, and they had to actively break the wall. Over the years, culturally, some subcultures broke the walls and began to turn defensive into offensive.
In terms of film and television culture, this problem is more prominent. There has been a conceptual impact in the aesthetic field, denying the three-dimensional culture, defining the three-dimensional as "old and outdated", highlighting the chain of contempt inside and outside the dimensional wall, and intending to replace the traditional aesthetic standards and establish an Internet culture based on "New Aesthetics". It is the cultural posture of the "two-dimensional" of these years to recognize oneself as being naturally advanced in culture.
2017's film "Flash Girl", which claims to be a film that expresses the culture of the second dimension, the film marketer launched a slogan "No entry is allowed over 24 years old". Let alone the fallacy of the marketing side's perception of the film market, just look at its aggressive and offensive posture, showing an inexplicable contempt for the outside of the dimension, and the displayed "cultural confidence" is amazing.
The 2.5-dimensional band in "Flash Girl" (there are characters who think they are in the two-dimensional circle, and there are also three-dimensional players).
Any self-confidence comes from victory. We can't help asking, what is their "victory" for the young people in these self-advanced dimension walls. Of course, it is not the survival of the fittest in culture, but the blessing of capital. According to data, China’s two-dimensional users have more than 300 million. Internet giants such as BAT have strategically deployed in the two-dimensional field, with a large amount of capital, financial support, incubating domestic animation and games, and thus consolidating the audience of the post-90s generation. Expand the content. With the listing of B in the United States, it also indicates that the excitement of the two-dimensional market has just begun.
Let’s observe the situation of Japan, the country where the original wall was invented. The various subcultures in Japan have flourished and enclosed themselves. As time goes by, the circle is getting smaller, more and more, more and more fragmented. The reflection is that the market is being segmented into smaller and smaller segments, and eventually the national market is lost. Japanese movies, especially commercial films, have lost their original positions in the world.
movies and long videos need to be popularized as much as possible. At present, people outside the dimension wall are excluded, and the aesthetic style is rapidly changing. The younger age aesthetics, the focus on appearance, the decentralization, and the decentralization have appeared in the field of TV dramas in my country. A large loss of middle-aged and elderly audiences. I have to say that from an industry perspective, this is a trend worthy of vigilance.
What is interesting is that Jay Chou has the most news about breaking the dimensional wall. If a person always breaks the dimensional wall, then that person actually has no "wall".
Aesthetically, there is no so-called circle standard, and the circle evaluation system has no value in the aesthetic standard system. "The Romance of the Three Kingdoms" and "Game of Thrones" are the same aesthetic standard. The directors of "Avatar" and "Titanic" are both Cameron, different dimensions, but the same aesthetic standard is used to evaluate their films. After all, it is artistic quality.
"Titanic" and "AfanThe movie posters of "Da" have different styles and themes. Even though a considerable part of
film and television works are popular texts, popular texts also have their aesthetic standards for artistic quality and appreciation. Various subcultures, whether to break the wall or not, the aesthetic standards formed by mankind for thousands of years cannot be subverted, just as no matter how science develops, the Pythagorean theorem and Archimedes principle will not change. They clearly pointed out that the masses who are narcissistic, self-hypnotized and admire each other in the circle culture do not seem to understand this.
On cultural products, in literary and artistic creation, avoid labelling, and proactively label yourself with so-called two-dimensional labels, or labels of a certain circle. Labels cannot replace content, and try to use the "advanced" of the label to be equivalent to the work , The advanced products are self-deception. What's more, this dimensional wall concept is nothing more than a phenomenon, and has nothing to do with advanced culture in the context of culture.
Of course, Engels proposed that the standards of literary criticism include aesthetic standards and historical standards. For circle culture and the concept of "breaking walls," historical standards should also be used in literary criticism, taking full account of its specific environment and cultural background. , Especially the current Internet culture and the special form of youth culture, can make more comprehensive and objective criticisms.
□ Wang Hailin (screenwriter)
