This article is from WeChat official account:New Weekly (ID: new-weekly), author: Zhao West Anhui, title figure from: vision China
For Chinese screenwriters, this is the best time and the worst time.
Chinese film and television are undergoing a period of deep transformation and adjustment, and screenwriters cannot stay out of it.
The hit drama “Fourteen Years of Chenghua” and “The Hidden Corner” have successively fallen into a dispute over the authorship of the scriptwriters; “In the Name of the Family” due to the collapse of the late plot, the Douban score dropped from 8.6 to 7.0.
Guan Hu’s “Eight Hundred”, edited and directed by Guan Hu, received several billion yuan in the box office, which accelerated the recovery of the domestic film and television industry, but many people still believe that this is a movie that tells a bad story…
The success of “The Hidden Corner” is due to the screenwriting team.
The domestic screenwriter and the audience seem to have entered an endless loop of mutual harm.
The screenwriter thinks that the audience does not understand the difficulties of the screenwriting industry, and the audience denounces the screenwriter for treating himself as a brain-dead.
Aristotle once said: “An era of bad storytelling must be an era of decadence and degeneration.” But the problem of domestic screenwriters is far from being as simple as “not telling stories.”