Author | A po
In domestic female dramas in 2024, a well-behaved white flower is not as good as a vengeful evil girl.
Wu Jinyan "returns to the old business" and kills all the enemies. The old "Post-It Girl" Chen Qiaoen turns around and becomes the mistress... Let the audience watch the "refreshing" "Mo Yuyunjian" Mo Yuyunjian "Not only did it set the record for the fastest Youku popularity value to break 10,000 in 2024, but one week after its launch, it officially surpassed "Celebring More Than Years 2" and topped all data lists . How can it not be said that the domestic "big heroine" takes over the role of the male video drama "Dragon Man" as a kind of "gender equality" in the film and television market?
Audiences love refreshing dramas, and refreshing is a terminal feeling. The reason is that the emotions projected in film and television dramas allow the audience to gain resonance and value from them. In the film and television drama market that focuses on female audiences, after a long period of passive female images, female perspectives and tastes are still waiting for more satisfaction. "In the Clouds" satisfies this emotional value.
It is not easy to create content that satisfies this emotional value. At present, it seems that the "her economy" in more social environments has boosted the popularity of "her themes" in film and television dramas, and the awakening of female consciousness has also boosted female characters. growth and the reshaping of the female image.
However, Wu Jinyan’s becoming “the ancient Greek god in charge of female pornography” did not happen overnight. It is not a one-step process for female characters to gradually grow up in film and television dramas. The prerequisite for capturing the audience’s preferences is often that the creator has insight into social changes and the market earlier than the audience. trend. For example, the success of "Mo Yu Yun Jian" is inseparable from the Huanyu brand's 12-year focus and observation of the ancient costume female channel. Huanyu drama, which is known as the "professional heroine", is more like saying Completed half of the growth history of female characters in domestic dramas. How did
female characters gradually become "Xue Fangfei", and what will be the next step for "her themes"? Some clues may be found in the changes in entertainment dramas.
More than just falling in love, the consciousness of women in the ancient costume "her theme" leaps forward
The heroine is reborn for revenge. Many viewers are familiar with the plot tag of "In the Clouds of Darkness". Dramas with heroines are not uncommon in today's film and television market. , and even once became a standard feature in major dramas. But in fact, when we follow the timeline of the development of domestic dramas, we will find that it is almost absent from film and television dramas before 2010.
From the love-minded heroines who fought for love to death in the last century, to the extension of "her themes" in post-millennium family dramas, during the start and rise of domestic film and television, female characters strive to be in stories that are at the core of male discourse. Sacrifice yourself for love and family to move the audience and seek a place on the screen.
Sacrifice is always depressing. When a man's success is combined with "career, love, and family", and when a woman is "ambitious", she can only "do all kinds of evil and bring about her own destruction"? ——This description exactly corresponds to the most popular setting of "revengeful evil lady" at the moment, so the "Xue Fangfei" we love to watch now was just a "mad woman in the attic" in the past.
Since when did the audience no longer only accept gentle and submissive heroines? Thanks to the rise of online literature, young people have more space for self-expression, and film and television dramas, as another carrier of expression, expand the space for female discourse.
After 2010, the "big heroine" officially emerged.
"Palace" and "Bubu Jingxin" place the consciousness of modern women in the ancient palace, and collide with the thinking that women are no longer willing to be men's playthings. Qingchuan and Ruoxi, who are quirky and do not follow routines, are both traditional The "crazy woman" in the mind allows the audience to see another possibility of women. is almost the originator of " Sauvignon Blanc " that became popular last year due to "one woman with many men", especially Qingchuan, " Even if you have many princes, the best Fourth Prince and Eighth Prince are all attracted to me. I wandered among the flowers just to return to my own modern age."
It’s easy to understand why Huanyu Drama has won the title of “King of Drama” on Hunan Satellite TV for consecutive years.
In " The Legend of Lu Zhen ", Lu Zhen angrily scolded the male protagonist, "Please don't use such a patronizing tone to tell me that you only want to marry me." Even ancient women also sought equality with men in love. In other words, this is a matter of course; Dongfang Bubai in "The Swordsman" pursues hegemony in the world as a woman, and after reaching the pinnacle of power, she seeks the joy of love. It is difficult for you to describe her with a love mind. It’s more like a free choice to play with power and love.
The complexity of female characters is fully revealed in early entertainment dramas.
Later, the "God of War" female protagonists in " The Legend of Chu Qiao ", " Fuyao ", and " Long Song Xing " became popular in the market. If the male protagonist cannot stand side by side with the female protagonist on the battlefield, then wait. The heroine wields a sword to cut off the love thread for the sake of the common people. The "big heroines" have reached the point where love is not a necessity. , just to take care of the family-friendly audience in front of the TV station, it still cannot be separated from love.
There are also some "family-style" heroines such as "Jade House Spring", "Heirloom", "Everyday Life" and "Changfengdu". They seem to be the family-themed style of old-school domestic dramas, but once the heroine takes charge of the family, she can become a heroine. After all, the bad side of "a woman reviving her family business and then transferring it to the male head of the family" will no longer appear. Young viewers in the Internet era can also smile knowingly after watching it. After all, money is always more fragrant than love.
In "Story of Yanxi Palace", Wei Yingluo is "a good one who retreats in order to advance". Others enter the palace to gain favor, but Wei Yingluo does it to find her sister and gain favor "by the way". Xue Fangfei in "Mo Yu Yun Jian" said to the male protagonist, "I am willing to be the chess piece of Duke Su, please use me as a chess piece." Xue Fangfei was able to take revenge step by step, and Duke Su was more like a fish that took the bait. Son, pulling against it, fighting for it desperately, it seems that Xue Fangfei is another kind of retreat in order to advance?
Audiences in 2024 can no longer accept repressed female characters. Female audiences should be Dongfang Bubai who pursues desire, and Xue Fangfei who must retaliate. Love is just an added value in desire.
Not only the "heroine", there are more "women" in the mirror
Chen Qiaoen said with a smile on Weibo that if he had known that there would be so many embarrassing shots, he would have gone for beauty and skin care three months in advance. The interesting aspect of "In the Clouds" is not only the fast pace and witty plot, but also the director's audio-visual expressions that are innovative.
Women's costume dramas are the most important track after domestic dramas enter the era of female narratives. Putting the current plight of women in costume scenes will be particularly clear. The common lens expression in "In the Clouds" is what is commonly known as "breaking the fourth wall" in shooting techniques, in order to allow the audience to withdraw from the environment in the play and examine the character's situation and situation more objectively and rationally. Dilemma.
The reason why "Mo Yu Yun Jian" became a hit is that the audience may be attracted by the "coolness" at first. After watching it, in the "face-offering" scenes, every woman seems to see herself in it. .
is like Jacques Lacan's "mirror theory". When watching a play, the audience examines the character and empathizes with the character through the "mirror" of the screen. But it is impossible for everyone to be Qingchuan, a top student in history, Lin Shaochun with business acumen, and Xue Fangfei, who is determined to retaliate. Therefore, in the evolution of female dramas, they are gradually moving from a single "big heroine" to a group portrait style expression.
Zhao Paner, Sun Sanniang and Song Yinzhang in "Meng Hua Lu" or Li Wei, Hao Jia and Shangguan Jing in "Everyday Life", there is always one that makes you see "yourself". In "Jade House Spring" you are not Lin Shaochun, Xu Fengqiao can also be Wu Yuehong or Yao Didizhu.
So I can't be the Xue Fangfei in "Mo Yu Yun Jian", maybe she can also be the catkins who can distinguish between right and wrong. While helping Xue Fangfei who is in trouble, she is also a nymphomaniac to the handsome cousin Ye Shijie. She is a good girl and a handsome man. I like them all, but when I find out that the man is not interested in me, I can also say calmly, "I only like people who like me. As for people who are not interested in me, I will not waste my efforts in vain." I just say that love is just optional. Just an accessory.
But some viewers also saw among the women Jiang Li or Qiongzhi who stood up for her sisters. They had the regret of dying with hatred, and there was also the female mutual help between Xue Fangfei.
Domestic "her themes" have entered an era of blooming. Not only are the themes diverse, but even in a drama, female characters can be outstanding even if they appear in few roles. Women have gone from being stared at to hoping to gaze at themselves in film and television dramas. The good female group portrait genes of entertainment dramas allow different audiences to see themselves in a certain character. This is why entertainment dramas are popular and have a wide audience. The real reason for the spectrum.
More than just a "momentary pleasure", Huanyu Drama has created a female-channel drama that "will not go out of fashion"
html The old drama for more than 20 years has been dug up and "judged" by netizens. The audience's evaluation, likes and dislikes of the forbearing heroine and the vicious female supporting character have come to a head. An earth-shaking reversal. Wei Yanwan in "Ruyi's Royal Love in the Palace" and Ye Bingshang in "Long Moon Ember" tasted the pleasure of "supporting roles on the table". The tastes of modern audiences have changed. Instead, it has become a question of whether a work has the limitations of the times. Demon mirror.Micro-short dramas may make you happy for a while, but long videos can make you happy all the time once they have a rich amount of information. This is also the core of how female TV dramas can be competitive in an era of rapid changes in female consciousness. Happy entertainment dramas are exactly the same. Set a good example.
As mentioned above, the "reverse harem" model of one woman and multiple men in "Saurus Love" was clearly understood by Qingchuan in "Palace" more than ten years ago. Lu Zhen, the "reverse PUA master", Dou Yifang, who refuses to fall in love, and Wei Yingluo, who never suffers from internal conflicts, are still "exciting dramas" when they are released. The female characters who can withstand the "trial" are just like the praises on social platforms, "such heroines" It’s still too advanced.”
Today's female viewers have already understood that "loving yourself is more important". The traditional "villains" Ji Shuran and Princess Wanning in "Mo Yu Yun Jian" have also become the admiration objects of many female viewers. Who doesn't want to be the master? What about the evil daughter and the crazy princess who plays tricks on Tan Hwa Lang? was forced to be a "mad woman in the attic" in the past, but now she "has to be a mad woman who only consumes others externally but does not consume herself internally".
As works of art, film and television dramas may have real insights into the present, and they may also present an advanced expression of the creator. Create "big female protagonist dramas" before seeing the audience pursue narratives about strong women, and create rebirth and revenge dramas before audiences pursue refreshing narratives. Some of the creation behaviors of film and television dramas that seem to cater to the audience's taste are actually a kind of advancement. After all, the production cycle of a long-form drama usually takes more than two years. How popular it is when it is broadcast is a testament to the creator's advanced and accurate vision.
The creator's long-term focus and exploration of the subject matter requires perseverance, and this is where his advanced insight comes from.
Looking back at the past, Huanyu Drama has been focusing on female dramas for 12 years, almost covering the era of the emergence, development and rise of female narratives in domestic dramas, from "Palace" to "Strategy of Yanxi Palace" to the explosion of "Mo Yu Yun Jian" Fire is setting benchmarks for the evolution of female dramas in different periods, and is also "managing" different new processes for domestic dramas.
