Causes and routines of blowout of red-themed film and television dramas

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Some media described 20 1 1 as a year of "red drama blowout". On the one hand, 20 1 1 has two major commemorative activities, namely, the 90th anniversary of the founding of the Party and the centenary of the Revolution of 1911. On the other hand, since the new century, red-themed TV dramas have become an important type of TV production, many of which are not red-themed tribute dramas (invested and filmed by government propaganda departments).

Red-themed film and television dramas have accumulated several successful narrative styles:

First, major revolutionary historical themes, such as the Long March (200 1), Jinggangshan (2004) and Red Cradle (2009). 20 1 1, epoch-making, the revolution of 1911 is a masterpiece. With the tolerance and de-ideology of historical issues, these TV dramas can present and restore the original appearance of history more objectively, make historical figures in textbooks more flesh-and-blood and humanized, and interpret major history as intrigue between different characters. In particular, commercial stars are allowed to play leaders and historical figures in order to attract audiences. This kind of big star still presents the perfect grafting of the main theme and commercialization, not the special actors themselves.

Second, General Nituizi's anti-war dramas, including Historical Sky (2004), Bright Sword (2005) and Wolf Poison Flower (2007). It was rated as 20 1 1 "the most beautiful tribute drama" by the State Administration of Radio, Film and Television. In recent years, the anti-Japanese theme has become an important stage for shaping national/national heroes. On this stage, the national drama of national unity against Japan was performed, and the national/national identity was re-recognized through the writing of personal heroism.

The third is the "unsung hero" spy war drama, represented by plot against (2006), lurking (2009) and before dawn (20 10). 20 1 1, there are "borrowing guns", "green blindness" and "green blindness". The spy war drama comes from the anti-movie which used to be a classic red theme. This kind of TV series not only has thrilling commercial elements, but also the loyalty and tenacity of the unsung heroes to their beliefs, which is a powerful presentation of the current white-collar workplace ethics.

Fourth, youth/idol red drama, represented by Just Boys and Girls (2006). 20 1 1 Both the May 4th Youth Patriotic Movement, which is closely related to Party building, and the young revolutionaries who participated in the Revolution of 1911 are related to youth. Therefore, the tribute drama also focuses on youth narration. For example, Love in Yan 'an, which was broadcast in the first half of 20 1 1, and Hunan Satellite TV, which is famous for its idol dramas, launched four self-made dramas-Mao Zedong-themed TV series In Full Bloom, My Youth is in Yan 'an, drama documentary Youth Company and Youth Singing Songs, which formed Red Youth, among which Youth

20 1 1 The red drama with the best reputation and ratings is the theme of the Anti-Japanese War "Never Forget the Serial Number" (produced by Beijing Luhuaina Film and Television Co., Ltd.), which set the first ratings in Beijing Satellite TV and anhui tv, and then logged into CCTV 1. This drama is regarded as the anti-Japanese version of Water Margin (just like many red classics, such as Lin Yuan, Biography of New Children, Biography of luliang heroes, Flying Tigers and so on). , all use the legendary romance of rebellious heroes to tell revolutionary stories). Through Li Da's skill, he led a group of "He is My Brother" to deal with retarded and rigid Japanese devils, and highlighted the grand theme of brotherhood and resisting Japan and saving the country in the jokes, which can be said to be rare in red dramas.

Compared with Shi Guangrong, Jiang Daya, Li Yunlong and other rebellious heroes, Li Da of Huang Hai Bo is also a mud-legged man, with little culture, but a little more ruffian. The Tibetan "brainwave" made the little devils run around. Similar to the writing practice of * * * joint anti-Japanese in recent years, Li Dashi, who is glib, and Chen Feng, a national army officer with righteous words, are also good anti-Japanese brothers. This comedy and blockbuster TV series adopts the ideological strategy of film collection. Just like the name "Immortal Serial Number", it is also a story that seeks to organize "naming".

The guerrillas led by Master Li were almost wiped out in the blocking war to cover the retreat of the main force (except for the third son who survived). Decades later, the remains of the martyrs were discovered and relocated in the martyrs cemetery. These irregular anti-Japanese troops without titles were finally recognized by superiors and organizations and became heroes of the "Chinese nation" (the most important and remolded historical subject at present), thus finally realizing the dedication and sacrifice of individuals/heroes.

It can be said that this is not so much the process of "retrieving" their titles/names from history as the process of the current mainstream ideology gaining political identity by renaming and recognizing the lofty values of individuals/heroes, but the "political identity" here has changed from "revolution" to "country" narrative with "Chinese nation" as the main body.

Under the support of this ideology with the nation-state as the main body, it is easier to tell the story of the Revolution of 1911, a bourgeois democratic revolution against feudal kingship. Coupled with the legendary dramas of the Republic of China and the cultural upsurge of the Republic of China in recent years, "those things in the Republic of China" has long been a familiar theme in TV dramas.

The Revolution of 1911 (jointly produced by the Propaganda Department of Tianjin Municipal Committee and Tianjin TV Station) landed on CCTV at the end of September, which was different from the great controversy caused by Towards Harmony ten years ago. The drama tells an epic TV series from the constitutional reform in the late Qing Dynasty to the outbreak of the Revolution of 1911, in which Yuan Shikai failed to claim the title of emperor, showing in detail the dying struggle of nobles in the late Qing Dynasty, the plight of Yuan Shikai and other constitutionalists, and the radical revolution of Sun Yat-sen and other factions.

Although this drama doesn't praise Cixi and Yuan Shikai and belittle Sun Yat-sen like To * * *, it is obviously different from the previous revolutionary historical view, and it is more plump by putting every historical figure in a specific historical situation, especially Yuan Shikai, who has always been in the historical whirlpool during this period of history, which is particularly complicated and multifaceted.

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