This article is from WeChat public account: Sir movie (ID: dustevv) , the original title” Scold them, are you glorious? “Author: poison Sir, the question from the map:” Country Love 12 “

Tonight, the end of a long love run.

Not a celebrity gossip, but a higher national level than celebrities-the finale of “Rural Love 12”.

Everyone lamented that the years were a pig-killer, and the young man was strong and could no longer recognize each other.

Surprised Zhao Benshan’s return to the main assignment.

Catch Xie Guangkun over and over again while watching.

To put it bluntly, the broadcast is now as much as the composition of the story, and the audience is all supported by emotion.

It’s not “Hometown Love” to reflect on.

It ’s the 12th season of “Famous Love”, but besides that, where is the famous country theme?

Yes, there is “Liu Laogen 3” which will be broadcast in the same period this year, but this is also the class of Zhao Benshan. One fact that cannot be changed is-

Domestic dramas have long isolated the countryside.

Looking at the current hit dramas, ancient puppets, fairy heroes, youth, and the workplace.

You can’t see them smelling a little bit of rural soil, but in the past, we obviously had a lot of excellent country plays.

“Ma Xiangyang’s Notes to the Countryside”, “Old Peasants”, “Warm Spring”, “Ordinary World”, “Fugui”

Until 2011, China ’s urbanization rate exceeded 50% for the first time. As of today, the rural population still accounts for 39.4%.

In other words, almost half of people ’s lives have no chance to be seen on domestic screens.

Do Chinese-made dramas forget the countryside? Could actually be worse.

01 Avoid that rural man

Poorly rural subjects.

The most popular place for rural people is urban drama.

And Their roles are surprisingly identical—the abominable wicked; poor and insatiable.

The most typical is Fan Shengmei’s parents and brother-in-law, who exposed the “vampire native family” to the audience, arousing great anger.

Since then, this “urban-rural contradiction” has become a favorite routine for screenwriters.

Fan Shengmei 2.0, 3.0 …Mutual exchange.

The leader of the heroine’s work in “My True Friend” was the manager, 30 years old, unmarried, and has been struggling for years to buy a house.

When the parents knew about it, they cried and complained, complaining of her marriage affair, and bought a house to enjoy first.

Girlfriends in Perfect Relationship, from the countryside.

It’s hard to stand still in Shanghai, and my feelings have improved.

The lion, a mother who came to visit relatives in Shanghai, opened her mouth and asked her to take 100,000 yuan to give her son a tuition fee.

The mother in Si Anfang’s room is the most exasperated. The son was distressed when eating instant noodles, and the daughter hadn’t eaten for two days. Every point the daughter earns is her own. She has to buy a house for her son and pay off the mortgage.

Not back? I’m troubled, I cry, I want to talk.

Sir is not to say that patriarchalism does not exist in rural areas.

I want to ask when rural people have only a single function on TV— Stumbling blocks for young people wanting to take root in the city, A complete “Villains” standing on the opposite side of urbanites.

There is a rural man in the city of Van.

The screenwriter couldn’t wait to get him out, counting his N sins-not about hygiene.

No toilet.

《新 上门 女 女》

No quality.

The babysitter comes to his hometown to sing K songs, and sings “Legend of the Phoenix” and dances in the square with a country accent.

《We are all good》

The city is cunning.

Do domestic dramas see rural people, what do you say—ridiculous.

Domestic dramas look at rural people. They want to see the enemy, they are like monkeys-they are both wicked and ridiculous.

But what is the deeper psychology behind this scorn and ridicule?

Yes, Fear . Fear of turning back to rural people. Fear of falling off your class.

Like Fan Shengmei’s distorted parents, it represents the embarrassing reality of many people who dare not look back after walking out of their provenance and behind the shaky decent.

The more ugly, the more exposed the denial of denial-that is not my past, I am different from them.

Oh, right?

02 cover that caller

On the one hand, the mainstream and the non-mainstream are colluding to dress up rural people as harlequins, and ugly images run rampant.

But on the other hand, it’s ugly, and it’s disappearing.

For example, the “Glorious Wrath” that Sir just talked about two days ago, this 16-year-old movie, adapted from the novel “Country Action”, the rough picture quality highlights the dark reality, the lens Do not avoid the dirty and evil in the country.

A group of villains colluded with each other and kidnapped the entire Heijing Village.

The opening was vulgar and explicit. Boss Xiong put a sour butt on the villager’s face.

When we talk about vilifying the peasants, are we deliberately avoiding the problems in the countryside? Quite the opposite.

Our film and television works are full of ugliness about hunting for strangeness and prostitution in the countryside. There is too little criticism of the real ugliness.

There are two movies in the countryside that impressed Sir and shuddered.

In “Blind Mountain”, the woman who ran away met an old farmer who carried firewood, and the old farmer did not return to the way. Several of the men who were chased met the old peasant again, and the old peasant still looked back, pointing in the direction of the woman’s escape. Behind the two “do not look back”, without thinking, there is extreme indifference to ugliness.

In Tengu, the actor Tengu played by Fu Dalong is sent to a remote mountain range as a ranger.

It seems to be poor, only to find out that these honest farmers live by cutting down trees in the forest area. As a result of the forest protection work, Tengu and the local bully “Three Brothers of the Kong Family” got on the bar and encountered repeated threats of violence.

In order to get revenge, the bully cuts off the water in his house, prevents him from drinking a drop of water, and even insults his wife Taohua.

But compared to the scene where Tengu was beaten with blood and bruised all over the body.

What’s even more shocking is the following scene-the villagers squatting on the wall watching the lively villagers.

They are not bullies. They are even bullied and bullied by bullies, but because of their interests, they are silent. No anger or pain could be seen on the numb face.

This scene alone raises the allegations of reality from a handful of wicked to a group portrait. The so-called “mediocre evil”.

Humans are animals shaped by the environment. The sins of these characters, why not show the embarrassment they experienced?

So in the end, in fact, none of these works proposes an individual moral condemnation.

It is the overall reflection on the rural environment in remote areas.

These ugly and evil revelations are more than a decade away from us.

Ten years later, only thin, stereotypical, and noisy rural people remain on the screen, a metropolitan (self-righteous) Elite pose, forged clown.

Are we farther from evil, or closer?

03 It’s been a long time since I saw my father and folks

Some people may say that the countryside is not so bad. The countryside where I / my friends / my relatives are located is now very prosperous and developed.

Here, Sir wants to explainWhat is not advanced or backward in the countryside, or the good or bad of the rural people, is the truth and courage of creation.

Today, our knowledge of the countryside is abducted by arrogance and prejudice.

“Pride” leads to not wanting to see and leads to ignorance.

“Prejudice” leads to dislike and leads to discrimination.

The stereotypes that remain are either the destruction of “the poor mountains and the bad water out of the people”, or the “deep urban routine, I want to go back to the countryside”.

Do we have the courage to get rid of these single rude conclusions and face a rural world with light and shadow?

It is interesting to note that there are indeed a lot of scoldings for film and television works like “Tengu”.

The hat of “ugly” is often not worn in the film and television dramas that show rural life without the brain mentioned above.

On the contrary, it is more often the original sin of these realistic works.

So thought-provoking-

Between “ugly” and “acura”, “looking down” and “looking up.”

In the end, is there a place called “objective” and “head-up”?

As Cao Baoping talked about “Glorious Anger”: “In some remote areas of our country, these facts do exist.”

Jia Zhangke also refuted the “ugly” and “negative energy theory”:

I think “energy” is based on telling the truth as much as possible.

Truth is the greatest positive energy. If you cannot see the truth and truth, it is negative energy.

This pursuit of “telling the truth” includes refusing to ignore false, evil, and ugliness because of its publicity.

I also refuse to ignore the common emotions and situations between human nature because of arrogance and prejudice.

The countryside is not just about horses and soil.

Country themes are not the type that viewers can avoid.

Take the dramas that have risen in recent years.

One of the biggest features is Return to the rural perspective ——

“Miracle Daughter” tells the story of young female workers who were attracted to factories and left their hometowns during the economic boom.

They are insulted and damaged, and they keep fighting.

Popular Boys to Adults focuses on an ordinary extended family living in rural Taiwan. The trivial noise and rustic atmosphere without beautification, but also reveal the true warmth of healing.

“Using the Jiuzi Tsai Shop” tells Yang Junlong in Taipei, returned to his southern hometown to take care of his sick grandfather, and by the way infuriated the small grocery store left by grandpa.

Tusta evokes our memories of our hometown: under the banyan tree, food stalls, old buffalo, neighborhood neighbours …

Look at these expressive local details, which are almost extinct in mainland dramas …

This kind of soil is not scarcity, but intimacy.

Just like in the story of the cult girl, (台) The heroine of Beibuo returned to the village, living in the old house in the country in.

It’s a bit old, but if it’s a little more regular, it won’t have any holes.

When the heroine intends to return to Taipei to find a job again, Fai Xiao does not yearn for it, but instead says, “Crazy, so impersonal

Even in the suspenseful love idol drama “Want to Meet You”, which is hot this year, are the protagonists walking through the rural fields?

Mother Chen Yunru’s mother in the play, Grandma Mo who opened the ice shop, and the enthusiastic policewoman are not just outside the main line of the plot, which makes people feel warm?

Taiwanese drama returns to the native place.

In fact, it is a “post-urban drama”, which is the return of modern people to human feelings and simplicity.

Humanity is also the power of life. This is the different charm of the countryside and the city.

When we look at these images, we don’t feel others, not others, not far away, but our loved ones, young people, neighbors, hometown, childhood …

But why should our film and television dramas turn their backs on them? Just treat them as labels of the blind, Low, low, and low duan population?

Today, you can turn around. But one day, you will have to face it again and re-examine that huge and silent existence. And then, please remember that we had a period of shame.

This article is from the WeChat public account: Sir movies (ID: dushetv) , author: poison Sir