Film and television creation and literary creation are not only a competitive relationship of narrative art, but also influence, interact and promote each other. According to statistics, more than half of the films produced every year in countries around the world come from literary adaptations. Literary adaptation of film and television works has long become a worldwide phenomenon. It can be said that literature is the soul of film and television works, and the "poem and distance" of film and television creation. Therefore, the involvement of literature and the existence of literature can be described as the "first workshop" of film and television works. The literary nature of
film and television works is a comprehensive and comprehensive concept, including two aspects, ideological and artistic. At present, some domestic film and television works still suffer from the lack of literature, especially the lack of ideology: pale thinking, weak imagination, content with repetition of the known, lack of discovery of the unknown; loneliness in the accumulation of stimulating elements, despising The hard desire to recast the soul; obsessed with the box office and ratings, far away from the inner touch. Good film and television works are not just an aggregator of the audience's eyeballs, but also a searchlight for thought discovery. The
script is the script of a script. Good film and television scripts often use literature as the background, which contains rich literary characteristics. The TV series "Happiness is Like a Flower", played by Sun Li and Deng Chaoyue, is adapted from a literary novella, and the excellent interpretation of the actors made the work a hit. Successful cases remind film and television creators that film and television creation must adhere to cultural determination, adhere to "script awareness" and "literary awareness", and not focus on "big IP" and "large traffic". This kind of cultural determination comes from cultural self-confidence. We should firmly believe in the audience's appreciation level and the long-term vitality of film and television works brought by literature.
literary not only lays down values for film and television drama, but also gives it a unique artistic perspective and way of understanding. Director Xie Jin, who has shot countless classic films, has a deep respect for literature. He is well aware that for film and television works, the aesthetic diversity and particularity of literature are the resources to ensure the originality and uniqueness of film and television creation. Therefore, he attaches great importance to and enhances the literary nature of film and television creation. This move is of great significance for promoting the development of domestic film and television creation.
Since the new century, the Internet has become an important film and television cultural front. However, the barriers to entry in the film and television industry have become lower, causing some shoddy film and television works to occupy the public eye. We cannot use past experience to judge the aesthetics of the moment. The creation of film and television for the purpose of pleasing the audience and flattering the market may be beneficial for a while, but it will never last. If film and television works want to go far, they must rely on profound connotations and superb skills, which is the foundation for their survival. Whether or not to value and respect the literary character is the key element of whether the film and television works can obtain the eternal charm. In other words, to save Chinese film and television, we must start with paying attention to and respecting the literary character. Zhang Yimou, the film director of
, once said: "To study contemporary Chinese movies, we must first study contemporary Chinese literature. Because Chinese movies never leave the crutch of literature. To see the prosperity of Chinese movies, we must first see the prosperity of Chinese literature." Creators must give full play to their imagination and creativity, and continuously enhance the aesthetic characteristics of film and television art; boldly learn from the processing methods of Western Hollywood, so that the story and literature can better serve the film and television art itself, instead of making film and television art become The interpretation and vassalization of literature even copied the original under the guise of "loyalty to the original" and turned it into a film and television version of literature, thus losing the subjectivity of film and television art. While leveraging on literature, independent thinking, free creation, emphasis on literary nature, and prominence of audiovisual quality have enabled domestic film and television creation to truly enter the realm of "exquisite thinking, exquisite art, and excellent production". (Zhou Siming)
