Reality TV shows are now worrying: What is the priority of documentary and drama?

In recent years, various reality shows have appeared in turn like a lantern, making the audience dizzying with the momentum of "dominating the screen". Nowadays, a large number of reality TV programs are closely associated with "stars". However, stars in reality shows are "use" rather than "body", and "technique" rather than "Tao". We must not sacrifice the original and pursue the last.

Original title: Reality TV shows: Cultural concerns behind the hustle and bustle

From party programs represented by "Variety Show" to game programs represented by "Happy Camp"; from puzzle programs represented by "Happy Dictionary" to talent shows represented by "Happy Girl", my country's TV variety shows have come all the way, and now we have reached the era when reality shows account for the "absolute majority". In recent years, various reality shows have appeared in turn like a lantern, making the audience dizzying with the momentum of "dominating the screen". Generally speaking, reality shows refer to television programs made by ordinary people (non-actors) in prescribed situations, in accordance with predetermined rules of the game, making their own actions for a clear purpose, and at the same time being recorded. Its charm lies in the use of virtual procedures and documentary techniques to highlight the personality characteristics or skills of participants in a certain real situation. In the new communication landscape, competitive pressures inside and outside the industry make reality shows seek breakthroughs through the introduction of models or independent innovation on the one hand. On the other hand, they also expose deviations from certain production concepts and hollow values in the process.

What is the priority of documentary and drama

? In terms of expression, reality shows should be objective and reality as the first symbol. However, faced with the massive amount of information, rich audio-visual content, and high-frequency mobile audience reception habits in the Internet ecosystem, many reality show creators have chosen to deliberately implant various dramatic scenes in their programs to achieve the goal of lasting attention. As a result, reality shows with reality as life are becoming more and more like film and television dramas with fiction as the core. They have contrasting interpretations of various "characters" and a "plot" structure full of dramatic contradictions and conflict tensions. Even at the end of each issue, there is also a suspense and continuity of "wanting to know what will happen next, and listening to the next discussion". Whether it is the fierce confrontation caused by the "small tasks" and "pursuit battles" in "Running Brothers", or the comedy effect brought by the participants in "The Ultimate Challenge" when experiencing different professions; whether "The Pattern Boys" is in team travel, or the strong family affection demonstrated in "Whirlwind Filial" in intergenerational interactions, they are all the use of typical dramatic techniques and the connotation of dramatic strategies. The "Creative Reality Game Show","Everyone is accelerating" and the "Historical Experience Reality Show" and "Let's Travel" hire professional directors and screenwriters to carefully create "stories" and integrate the program process into history, plot, science fiction, games and other multiple time and space, the content and form are similar to those of film and television dramas.

This kind of dramatic treatment from the inside out has indeed enhanced the viewing and dissemination of the program. However, for a type of program like reality TV, is such deliberate subjective intervention a bit too overwhelming or putting the cart before the horse, and will it obscure its essential attributes in the long run and consume its development potential? Reality shows do not exclude drama, but we must be wary of "man-made" drama. High-quality reality shows should subtly hide the dramatic effects in objective documentary images, rather than building up one dramatic paradigm and situation after another during program planning. For example, the most typical narrative pattern at present is to assign tasks to each participant or each group of participants in the form of a "task card", with the links set up to cause fierce confrontation, and strive to achieve "last-minute rescue" at the turning point."effect. It is true that the aesthetic integration with film and television dramas may be able to temporarily improve the ratings of reality shows by using elements, paragraphs, and clues similar to "characters" and "plots". However, in the long run, it is likely to overdraw its unique aesthetic personality and ultimately make it difficult for it to become "this one" in the TV variety gallery independently.

How to play the "star" card

well Nowadays, a large number of reality TV programs are closely associated with "stars". Due to the temptation of sky-high remuneration and ultra-high exposure, many outdated actors and popular stars flocked to the production and production of reality shows. Not only did they become popular again during the broadcast of the program, but even their families also became popular overnight and their worth soared. It can be said that some reality shows are no longer dream platforms and interactive spaces for ordinary people, but have evolved into circles of right and wrong that create various entertainment gossip and Vanity Fair that lures stars to compete.

In July 2015 and March 2016, the State Administration of Press, Publication, Radio, Film and Television issued the "Notice on Strengthening the Management of Reality Show Programs" and the "Notice on Further Strengthening the Management of Programs on Satellite Comprehensive Channels on TV", requiring reality shows to "abandon the erroneous understanding of 'relying on stars to gain viewing', correct the tendency of simply relying on stars, and not turn programs into places to compete for stars and show off wealth." Strictly control minors' participation in reality show programs, Nor are they allowed to promote and hype the children of celebrities in entertainment reports and other programs." This has largely curbed the previous over-stardom momentum of such programs. However, recent reality shows have added stars with some "whimsy". For example,"Come on Champion" brings together cultural and sports stars,"Cross-Border Singer" brings together film and television stars to sing, and "Familiar Taste" focuses on the growth experiences of stars in the name of "Food". In addition, there are also many phenomena that conceal the names of the programs. For example, the original "God in Flowers" was renamed "Men in Flowers", and the second season of "Idol Comes" was renamed "We Come". At first glance, it seems to weaken the star effect, but when you look carefully, you will find a change in the content, even worse than before.

Indeed,"stars" are part of popular culture, and healthy "chasing stars" is also a normal social phenomenon that is beyond reproach. As a type of TV program covering the whole society, reality shows obviously cannot block the "star" element, but its creators should be cautious about this issue:

First, they should not rely too much on stars and use them as all the highlights of the program, nor should they spend a lot of money to invite so-called "big names" and "big celebrities" to encourage the extravagant and competitive style of program production;

Second, they should not limit their horizons to performing stars. There are many people from all walks of life who have become famous in society through honest work. If we can fuse individual stars with more diverse identities into one with program content, it may be more able to highlight the inspirational spirit and the truth, goodness and beauty of human nature;

Third, we should be committed to building civilian stars, providing a stage for thousands of ordinary people to display their talents, and use humanistic feelings to improve the quality level.

After programs such as "The Voice of China","Music Master Class" and "Smiling in the Jianghu" use the "Star Mentor + Common Students" mode,"I Want to Sing with You" has made some innovative explorations in the interactive relationship between stars and ordinary people. The most touching thing is that ordinary people upload videos singing in the same frame with star singers through mobile Internet APP. The happy scene of "All People Singing" in the program has a strong sense of closeness to the audience, sense of substitution and resonance. In a nutshell, stars in reality shows are "use" rather than "body","technique" rather than "Tao", and must not sacrifice the original and pursue the last.

It is obvious how to inject nutrition into entertainment

. Reality TV programs cannot survive without entertainment, but if they stop at entertainment or even "entertainment until death", they will become empty and shallow, and they will inevitably die quickly. For a TV program, it is really difficult for the audience to truly feel "interesting"; it is even more difficult for the audience to realize "meaningful" based on feeling "interesting". This requires the responsibility and innovative wisdom of TV people.

There are several programs on the screen recently-CCTV's "China Poetry Conference", Beijing Satellite TV's "Inheritor" and Shanxi Satellite TV's "The Actor Wang Zhongwang" are worthy of attention. These programs with typical reality show characteristics may not be as good as some of the cases mentioned above in terms of ratings, and there is still room for improvement in content production and process design. However, they have two precious similarities: First, The spiritual core of the program is to spread the essence of national culture. Whether poetry, opera or intangible cultural heritage, they are all carried forward through the "show" of "real people" competitions; Secondly, although there are stars in several programs, they focus on expressing the cultural cultivation and artistic qualities of stars in multiple fields. As far as the stars themselves are concerned, they are in a subordinate and auxiliary position, completely serving the significance and production of the program.

Of course, the "nutrients" and "energy" of reality shows are not limited to the traditional cultural dimensions. All value orientations that inspire and guide people to move forward, be good, and be beautiful can be used as the theme connotation of the program. The key is to explore spiritual cultivation and audio-visual pleasure. A feasible path to seamless connection is that is, the exquisite creativity of educating and entertaining, reason in things, and emotion in the scene. For example, travel reality shows integrate the display of exotic customs with the tempering of interpersonal interactions; experiential reality shows bring life enlightenment through dramatic identity changes; competitive reality shows demonstrate the courage to challenge and team spirit when displaying superb skills; Song and dance reality shows bring audiences audio-visual aesthetic enjoyment in intense competitions. All these show the ingenuity of the creator and shine with the humanistic light of the program. In today's Internet communication environment, content is complex and changeable, and quality is uneven. Some online variety shows do not hesitate to break through moral bottom lines or even legal boundaries in order to earn attention. At this time, reality TV shows should not only not be influenced by it and lower the quality limit, but should also guide viewing tastes with sincere and nutritious creativity and production and optimize the communication ecology.

(The author Yan Wei is an editor for China Television Arts Committee)

Editor: yvette