Author: Ao Bo
Recently, the TV series "family name to" usher in the finale. The play takes the observation of young people born in the 90s as the main perspective, and uses their youth growth story as the main line of the play. It breaks away from the bitter drama model of previous family ethics dramas, and arouses people's thinking about the creation of family dramas.
Healing the wounds of the original family
"In the name of family" is a type of urban ethics drama in recent years: healing family drama. Its most affirmed value is to look directly at social problems and tell the story of healing the wounds of the original family with tenderness.
Previously, the characters in the drama who were deeply troubled by the native family problems included Su Mingyu in " is very good ", Fang Sijin in "An Home" and Fan Shengmei in "Ode to Joy". These characters all face native The problem of family injuries. However, many dramas only bring the difficulties of the original family into the emotional shaping of the protagonist, and have not become one of the main lines of the plot. The villain in the play is often caught in the controversy of "forcibly whitewashing". This year's web drama "The Hidden Corner", which has been hotly debated this year, took the psychodrama route of crime suspense when exploring the characters of the native family. However, these repertoires did not bring the trauma of the original family problems to the young people’s growth process, as well as the healing and self-improvement of their growing up as the focus of the repertoire.
Since the 1990s, the issue of native family has received increasing attention from sociology and psychology researchers. Austrian psychiatrist Alfred Adler once said, "Fortunate people are cured by childhood all their lives, and unfortunate people are healing their childhood all their lives." "In the Name of Family" shows the audience two original family problems. Forms: First, Ling Xiao and He Ziqiu lacked love since childhood, longing to love and be loved; second, Qi Mingyue and Tang Can suppressed the tension of family relationships caused by personal growth under the strong control desire of their elders.
The two core characters Li Haichao and Li Jianjian in "In the Name of Family" were successful in portraying their images. Li Haichao built a new home across blood relations and gave three unfortunate children the healing of love. One heart warms another heart. At the Home of Friendship Alliance, Li Jianjian's optimism and warmth helped Qi Mingyue and Tang Can get out of their growth difficulties. The play breaks the traditional "family concept" and redefines "family" and "family": family members should not be limited to blood ties, love and companionship are deeper affection.
Many audiences discuss "In the Name of Family" unconsciously and will unconsciously target similar dramas that seem to be similar but have quite different cores, such as the Korean drama "Please Answer 1988" and "Please Answer 1988", which focuses on family, friendship, and love. "Answer 1994", and domestic dramas "Parents' Love" and "Golden Wedding" which tell the warmth of daily life. It's a pity that "In the Name of the Family" went from the initial Douban high score to the final 7 points. Where does the turning point appear? Some commented that failing to carry out the family drama is the key to the decline in word-of-mouth. The warm daily life of the family is only concentrated in the first few episodes, and most of the rest of the time focuses on love and bloody plots. The plot changed from a daily family drama to a dog-blood idol drama.
The collision of the two spiritual spaces
If you jump out of the repertoire between the series of narratives, observe the spiritual space structure of the play, you can find that there is a dual spiritual space expression in "In the Name of Family". The world composed of five optimistic young people and the world of the elders, each collision is not only the climax of the plot, but also reflects the generational differences between the post-90s and their parents. The younger generation dared to express their thoughts and thoughts with direct actions. Parents are easy to fall into rhetoric and act cautiously. This dislocation further strengthens the tension of drama contradictions.
"Don't come to me anymore, I have nothing to do with you" "When did you respect me?" ... Similar lines appear repeatedly in the play, which stems from children's dissatisfaction with their elders. In the play, Jin Yuxiang insists on making Mingyuekao a civil servant give up her ideal of being a reporter, and Chen Yuee disregards Tang Can's acting talent to let her work in a museum. "Your father is not easy, but you can't forget his nurturing grace" and other characters in the play are full of cliche preaching, so that the honest man Li Haichao can't help but fight back, "Why is it not easy for me, how good are my three children? , Why do you always mention these?" These details have triggered people's thinking: actions full of respect and love can make people full of optimism and courage; preaching with empty morals will inevitably make people continue to fall into the gloomy psychology of the past.
The above dialogues and scenes are always unexpected in daily life.The director of "The Name of Man" made it appear repeatedly, forming a collision of two concepts. Just as in the masterpiece "Where is My Friend's House" by the Iranian director Abbas Kiarostami, Ahmoud repeatedly asked people for help in different scenes, but received indifferent and even deceptive answers. The contrast between the innocent and kind-hearted world of children and the world of adults is reinforced by the recurring lines and constitutes a strong sense of reality criticism.
New thoughts on native family dramas
Domestic and foreign movies and TV dramas on the theme of native family issues, most of them come standard with two narrative motivations, emotional lines and daily life lines. The emotional lines are often more internal and point to the protagonist’s soul. In "In the Name of the Family", the memories, questioning and repairing of childhood injuries, the nightmare that Ling Xiao can't get rid of, the doors and windows that can never be knocked on make him feel anxious and insomnia, Ziqiu's mother photos from time to time are all Let the audience cry from time to time, driving the plot forward. The line of daily life often determines the specific genre of TV series and the acceptance of audience experience. In the first half of "In the Name of Family", the high school youth life line is full of vigor and vividness, and the second half of the conflict scene between Qi Mingyue, Tang Can and the elders is also full of authenticity, but it was later diluted by the plot of polyangular love. .
In fact, some foreign dramas that focus on the growth of young people and reflect the original family problems are worthy of reference and reference for domestic dramas in the design of daily life lines. For example, "Mother of the Best" records the story of single mother Christie and her prejudiced mother who is also an alcoholic quit her alcohol addiction and get her life back on track; "Sharp Weapon" reported the murder of a young girl when reporter Camille returned home. The horror story lays out the plot of how she faces a mother with depression and a weird sister; "Shameless" tells the story of Fiona's life and adventure with five younger brothers and sisters with different personalities. The key to these dramas' good reputation is the diversity of daily life and the amazing imagination.
Family is the most basic unit of society. The same type of TV dramas at home and abroad tell about how the protagonist faces the wounds of his native family and how to use love and being loved to stitch the wounds of the soul. For the creation of TV dramas, using warmth to heal the wounds of the native family should become an in-depth exploration of important subject matter resources. (Ao Bai)
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