Industry talk about film and television drama creation: to meet the test of the Internet Era

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At the screenwriting Symposium of the series of symposiums "focusing on creative quality and winning the future of films" recently launched and held by the film Bureau of the State Administration of press, publication, radio, film and television, some film writers offered suggestions for the development of Chinese films from the perspective of dramas. In this regard, at the screenwriting Symposium of the series of symposiums "focusing on creative quality and winning the future of films" recently launched and held by the film Bureau of the State Administration of press, publication, radio, film and television, some film writers, from the perspective of dramas, contributed to the

At the screenwriting Symposium of the series of symposiums "focusing on creative quality and winning the future of films" recently launched and held by the film Bureau of the State Administration of press, publication, radio, film and television, some film writers offered suggestions for the development of Chinese films from the perspective of dramas The screenwriters of the original title film talked about: how to tell Chinese stories well

so far, the number of domestic feature films has exceeded 2000 in 2016, and the production scale of domestic films is expected to reach 700 this year; At the same time, the number of domestic film investors has reached 1500, of which more than 300 are sustainable in film creation and production. Under such an active market background, a number of new film writers have emerged in China's film industry, bringing vitality to Chinese film creation. However, since April this year, the growth rate of film box office has slowed down, and there is a lack of good works in the market that can summon audiences back to cinemas. Under the new pattern of full grafting of capital market and Chinese film, how to stick to artistic thinking? Whether we can avoid impetuosity when the market growth slows down is a test for film writers, especially the new generation of writers. In this regard, at the screenwriting Symposium of the series of symposiums "focusing on creative quality and winning the future of films" recently launched and held by the film Bureau of the State Administration of press, publication, radio, film and television, some film writers offered suggestions for the development of Chinese films from the perspective of dramas

screenwriters lack the awareness and conditions to actively create

"In recent years, some problems in the development of the film industry can not be ignored. For example, the production relies too much on the market effect, and gradually there is a situation of 'talking about heroes based on the number of box office'; in creation, it pays too much attention to entertainment themes, 'talking about short and long based on the number of laughter'; in terms of themes, there is a lack of originality, following the trend, imitation and so on, which has caused the aesthetic fatigue of the audience, and several types of films that once had infinite scenery have been temporarily silent." Zhao Baohua, honorary vice president of the Chinese film literature society, pointed out pointedly. He believes that this tendency of vulgarization and mediocrity in the film industry is closely related to screenwriters

screenwriter Zhang Shu is also worried about this: "most of the new screenwriters do 'commissioned creation' and do not enjoy copyright. This creates a lot of training opportunities for young screenwriters, so that they gradually become familiar with the industrialization process of film, and also understand that film is a kind of team work. But over time, screenwriters find that their control over the work is very limited, resulting in a sense of powerlessness and slackness." "Good screenwriters should rely on feelings and interests to create, write what they want, and then be accepted by the market. However, many screenwriters at present lack the awareness and conditions of active creation. Most practitioners do propositional compositions that 'must be completed whether they want to or not'. Even so, creation also needs to meet the requirements of investors, directors, actors and other parties, and sometimes writing deviates from the original intention. Some screenwriters even It becomes a 'tool' for code lines, and it is difficult to control the quality of the film. " Screenwriter Bai Tiejun sighed

screenwriter Zhang Ji said: "Chinese screenwriters lack 'worry thinking'. Many new screenwriters start by talking about the methodology, rhythm, climax, etc. they think it's OK to have technology and structure. However, the film market is not 'what you give, you can give back'. This kind of script accumulated by using skills alone, Chinese audiences can watch more mature Hollywood films and Korean films. Why should they watch domestic films? So we should strengthen domestic films We must make great efforts to find Chinese themes and tell Chinese stories well. "

good works should carry forward the mainstream values of society < / strong >

"Why are some film works often misunderstood? It is because the values of these films are not so solid and powerful in the process of highlighting. We see that any excellent work moves the audience, it depends on its value system, which is undoubtedly in front of us." Zhang Hongsen, director of the film Bureau of the State Administration of press, publication, radio, film and television, made the scriptwriters present deep in thought. To solve this problem, screenwriter Zhang Ting believes that in the process of writing a script, screenwriters should constantly ask themselves where the soul of the work is and what "values" they want to express. We can learn from the classic narrative techniques of western films, but the key to deciding whether the audience likes to watch or not is the difference of the film, that is, how to tell a good story on the basis of the classic narrative. A good story should have emotional uniqueness, cultural depth and humanistic care, which cannot be achieved through skills. At present, the hot "IP" has a certain folk foundation, but it is relatively profitable. In order to meet the market demand, it has abandoned some ideological content, which has been criticized by the audience and the industry. Therefore, we should not only pursue marketization and technological modernization, but also "turn a blind eye" to the values
"in current film production, investors' judgment and grasp of the theme are more about 'security' and return on investment, while ignoring the artistry and ideology of the film." Huang Dan, director of the literature department of Beijing Film Academy, said, "In the process of urbanization in China, entertaining works conform to the imagination of some audiences who have just entered urban life, such as colorful, rich and magnificent films. However, creators cannot limit the creative pattern to these superficial articles, but should explore the depth of the times, reality and other aspects. In the process of teaching, I have constantly stressed with students that works must be landing, and in the process of creation, we should go deep into real life and grasp the society Will be hot. Compared with those works suspended above real life, audiences need to see films that can resonate with their real life and inspire and guide their thoughts. " In this regard, Zhang Ji also agreed: "the screenwriter hopes to tell Chinese stories well, and the premise is that Chinese themes. Only themes that occur in China and belong to Chinese people can derive Chinese stories and convey values that are easily accepted by Chinese audiences."
< strong > meet the test of the Internet era < / strong >

"we are facing not only the challenges of Hollywood, the challenges of the Internet, but also our own challenges. Nowadays, the window period of film and video websites is getting shorter and shorter. How to ensure the cinema characteristics of films?" In view of the epochal nature of the film, Zhang Hongsen pointed out: "we must establish the advantages of the big screen and distinguish it from Internet viewing with the advantages of modern narrative style, modern industry and modern technology. It is not only Dolby 5.1 to upgrade Dolby panoramic sound, but also 2D to 3D. The narrative style of the film, the rhythm consciousness of the film, and the theater effect of collective viewing all need to be considered."
"for the current post-90s and post-00s, the Internet is as indispensable as' tap water ', which has a far-reaching impact on their lifestyle and values. Therefore, if you want to create a work with a sense of the times and marketization, you must face up to this change." Screenwriter Zhang Jiajia pointed out. Zhang Hongsen also believes that in the era of fragmented reading on the Internet, to gather audiences, we must emphasize the social function of movies. "For dramas, the modernity of keeping pace with the times may permeate every scene, every detail and the reserved industrial space and technological space behind every word. In a word, to improve the quality of films and strive to climb the peak, we must unify our thoughts, unite our common understanding, fight the battle of quality and level, and defend the historical and development lifeblood of Chinese films." the Analects of Confucius " He said, "if the quality is better than the literature, then the field, and if the literature is better than the quality, then the history.". Be gentle, then a gentleman '. How to achieve the unity of content and form, the unity of world outlook, values and methodology, and how to be polite are related to the future development of Chinese films. "
editor: Nancy

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