There is still chaos in the film and television industry. Only by using heavy codes to return creation to quality can there be a future

There are frequent chaos, so heavy codes should be used. Especially at the broadcast gate, we must strictly control, clarify the direction, and make up our minds to suppress this shoddy style.

Original title: The frequent chaos should be used. Bad films should be stuck at the broadcast barrier

."Why do I always have tears in my eyes? Because this joke is too much." Recently, screenwriter Song Fangjin went to Hengdian to conduct an "undercover" investigation and expressed such emotion. The survey record shows that in today's domestic "IP drama" shooting scene, actors can not memorize their lines, directors can only look at the face without looking at the acting skills, and most of the scenes are actually starred by doubles. This once again refreshed people's bottom line of understanding of the shoddy production of some domestic dramas.

For some time, chaos has emerged in the film and television industry, attracting people to complain constantly. But facts are reminding us that no amount of criticism seems to be able to stop the deterioration of domestic drama disorders. There are still a number of "IP dramas" in Hengdian and other film and television bases. Those dramas with constant scandals are still popular on major platforms."Small Flowers" and "Fresh Meat" have supported considerable ratings. The entire film and television industry is at risk of "bad money driving out good money." We can't help but ask, how can we stop the impetuousness of film and television creation? What can we do to save the declining quality of domestic dramas?

There are frequent chaos, so heavy codes should be used. Especially at the broadcast gate, we must strictly control, clarify the direction, and make up our minds to suppress this shoddy style. On this issue, relevant functional departments and major broadcast platforms should effectively shoulder their responsibilities and strengthen their own responsibility for controlling the atmosphere of literary and artistic creation and the guidance of social values. Focusing on reality, the reason why bad films are in power is driven by market forces. The mentality of "filming will definitely be broadcast" cannot be ignored. Under the fan economy, whether it can attract attention and sell well has become the only criterion for TV dramas. Driven by interests, TV stations, video websites, etc. have also left behind their social responsibilities. "Opening the sluice to release water" at the broadcast gate is encouraging some bad films to "have no fear of fear": as long as capital is willing to spend money, poor ratings can be faked, and online broadcasts can be made high even if there is not high. No matter how bad it is, it can be blown into a flower.

Only by strictly controlling the broadcast side can it be possible to force the production side to devote itself to it. To cultivate a higher-quality film and television production environment, relevant parties may wish to set the standards more stringent, so that these bad films that have been repeatedly scrubbed at the lower limit will completely lose their broadcast channels, and the investment of profit-seeking capital parties will be wasted. Only by learning a lesson can you gain wisdom. Strict review standards will undoubtedly have a clear guiding effect. After a few rounds, the signal can be transmitted to the entire film and television industry, forcing it to increase its reverence for professionalism and pay attention to audience aesthetics.

The intervention of the "visible hand" is inevitable, but the right to evaluate film and television works must ultimately be handed over to the market. In this regard, the practices of American TV dramas are worth learning from. Although the United States does not have a special review agency, it has a sound market-oriented mechanism for broadcast content. If a season of American drama has a poor reputation after being broadcast, it is a high probability that it will be "cut off" and change the protagonist in the next season. For us, the film and television industry should launch a "rectification movement" and work together from all parties to return art to art and creation to quality, so that China's film and television industry can have a future.

Editor: Nancy