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How can literary and artistic creation be intoxicated and divergent?

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Author: Lei Jun, former professor of the Basic Department of the Military Economics College

The TV series “Northern Ruins” is the first online drama directed by director Feng Xiaogang. The slurred title and the intentionally inverted word order all show the creator’s era of breaking the wall and the ambition of getting rid of cultural discipline. The idiom culture is worn to the restaurant and the serious culture is dispelled. Is it self-deprecating that the original intention of life is deviated from reality, or is it the release of cultural pressure and the sincere confession of getting rid of the label of “second sex” for women?

How can literary and artistic creation be intoxicated and divergent

“Northern Ruins” poster

In recent years, from “Ode to Joy” to “Thirty Only” and then to “Northern Ruins”, TV screens have been catching up with the steps of modern women in the workplace, but they can’t truly express the different styles and smallness of their life style in the big era. The sentimental interest is long. Women’s perception and response to life are first-rate, and the rapid changes in society can be seen in them. It can be said that women’s life style is the footnote and vane of society. The female characters in the three dramas not only retain the gentleness and kindness of classical women, but also have the fortitude and determination of women in the workplace. They drive themselves to fight for financial freedom on the one hand, and count the emotional life of the family from the shoulders of the Avalokitesvara Avalokitesvara , Has become an urban beauty who welcomes the rain of bullets on earth. However, from the perspective of Douban scores, the ratings of the three dramas have continuously dived, and only 4.7 points are left in “Northern Ruins”. There is a feeling that the noise has returned to peace and the song ends.

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“Northern Ruins” can’t stand the wounds of women’s struggles, abandoning the inspirational story routines of Andy, Gu Jia, and Wang Manni, and start a flat life mode. The scene of the story moves from society, companies to restaurants, and the shrinkage of space is a metaphor for women’s full retreat from the workplace and the love scene. At the end of the struggle, the spiritual circuit has experienced the turmoil of the workplace and the tearing of emotions. They are no longer able to leave. With atrophy of their spirits, they return to their cabins or families to live steadily. Although the banner of idealism is no longer held, the elegant aura is still there. The rice circle, cultural circle, and relationship circle centered on the “northern road” is obviously different from the pyrotechnic life of the common people. The literary and artistic style of the fallen urban beauties is still holding, but under the high and widowed life, there is less spiritual thickness, and even There are also some suspicions of kitsch. If “Ode to Joy” and “Thirty Only” are focused on the new realm of life created by modern urban women, then “Northern Ruins” is only left with drunken and dim faces soaked on the dining table all day long. Ping is not spiritual self-entertainment, adjustment and healing after struggle, but mental exile and spiritual desertification.

How can literary and artistic creation be intoxicated and divergent

Stills of “Northern Ruins”

Objectively speaking, in the context of postmodern culture, the five women in the play did not give up their freedom, on the contrary, they loosened themselves up in a more modern way. After experiencing the struggle routines of “Ode to Joy” and “Thirty Only”, they have a deeper rift with traditional expectations. They don’t believe in the sweetness of romance, the bitterness of tears, and risk challenges. They don’t bind themselves to men, and they have feelings about feelings. A firm decision; they agree with personal loneliness and stability of life, family is only a synonym for stability, men are just companions hand in hand, or even objects of consumption; they do not intend to become the role that society expects, to become defective and free There is an entity, not a cultural imaginary symbol. The rapid development of the consumer society allows them to reorganize the relationship between female identity and urban modernization. They use ironic words to challenge the established social order and historical laws, and the meaning of traditional female attachment is constantly lost; they become lazy in the face of life and give up completely The idea of ​​struggling and adventurous, jumped out of the public life that was watched and anticipated, to the noisy silence and gorgeous mediocrity. In fact, women who have lost their poetry are just consumer goods and materialized objects, and they cannot be respected and imagined.

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“Northern Ruins” continues the bantering mode of Feng Xiaogang’s work, but without the typified themes such as civilian attention and emotional praise, there are less tears in the smile, less meaning in the creative form, and full screen of crazy talk. The exaggerated language fills in the depth of thought, and also shields the true feelings and vitality of struggling women and the innocent experience of sadomasochism. Ironic language is a way to think about society rationally and resolve social problems. The explosive dialogue of the characters in the play destroys the beauty of the language, and also destroys the piety and awe of the language. In the face of tragic life, language must penetrate the mediocrity like a dagger; in the face of comedy, language must be softly and poetically corrected. In the play, people besieged each other with negative emotions, stripped of their own expectations and hopes, and finally found it difficult to save themselves and redeem themselves.

How can literary and artistic creation be intoxicated and divergent

Stills of “Northern Ruins”

“Northern Ruins” creates a stage for women’s independence, deliberately getting rid of the majesty of male perspective and patriarchal culture, but their spiritual desolation is always related to men, and it is precisely the involution of their lives and the psychological imbalance that traps them. Only by rationally understanding the social nature of oneself and balancing the relationship between the sexes can you stand upright. Reversing the cultural sequence does not mean self-liberation, and putting on cultural labels indiscriminately does not mean innovation. All this is nothing but self-intoxication. Only by enriching the mind with culture and finding the spiritual product that sustains oneself can we not go with the flow and go wrong. (Lei Jun)

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责编:刘冰雅 ]

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