In domestic film and television works, the depiction of the poor often appears untrue and exaggerated, which is deeply reflected in Article 20. In Article 20, Hao Xiuping's family lives in the quagmire of poverty, but they are not helpless victims. Set against the backdrop of Hao Xiuping and her family, the film reveals the stark discrepancies between real life of poverty and character portrayal. This misrepresentation makes it difficult for the audience to truly feel the real state of life of the poor, and may lead to the deepening of misunderstandings and prejudices. This untrue description not only weakens the audience's understanding of the bottom of society, but also reduces the reliability and ornamental value of the work.
The real state of poverty.
Hao Xiuping and her family live in rural areas, and their poverty is reflected in many ways. Whether it is daily clothing, food, housing, transportation or quality of life, they all face various challenges. Hao Xiuping is a rural woman whose husband is the owner of a small local coal mine, with low wages and poor living. Due to the poor financial situation of his family, coupled with his husband's limited education, he is unable to pursue a high-income career, coupled with medical expenses and huge debt pressure, his life has become extremely difficult. In order to make ends meet, they had to rent out their houses and borrow against the rented houses. Despite the presence of houses, they all appear simple and old, creating a noticeable difference from their surroundings. In order to get out of this predicament, they have no choice but to go out to earn a living, and even take risks to embark on the road of crime. In this film, the malicious revenge of the bullies further aggravates their life difficulties. In the film, a boy named "Ah Qiang" actually cuts off his mother's hand with a kitchen knife and dumps her body in the wilderness in order to beg for wages. This is a real story. Through these subtleties, the audience deeply experienced the difficulties and inescapable difficulties of a poor life. How does the movie "Slumdog Millionaire" create an image of a real poor and pitiful poor man? Why are there unreal poor characters in domestic film and television works? There are many reasons for this, but the most important one is due to the audience's dissatisfaction with the real world and their disappointment with life itself. One of the reasons for this is to meet the audience's preferences and expectations. Audiences like to see good stories, but they don't want to see people who don't have money and are still struggling. Some directors and screenwriters may feel that audiences are more inclined to appreciate the colorful and extravagant scenes of life than the real life of poverty. In their opinion, the life of the rich should be full of sunshine and happiness. As a result, they over-exaggerate the image of the poor and create unrealistic plots and characters in order to capture the audience's attention.
A call to portray the image of the poor in a realistic way.
However, untrue depictions not only violate the principle of artistic authenticity, but also weaken the ability of film and television works to reflect and criticize society. They live on the edge of the city, and their humble houses are filled with the smell of poverty. In the process of artistic creation, directors should take on more responsibility to show the daily life of the people at the bottom of the society more realistically, rather than sacrificing authenticity in order to cater to the audience's preferences. Hao Xiuping and his wife often worry about the cost of their children's education, and they work hard, but life is still difficult. In the daily lives of Hao Xiuping and her family, the oppressive feeling of poverty is pervasive. Hao Xiuping and her husband struggle to plan every expense, but life still puts relentless pressure on them. The economic environment they live in is quite tight, so you need to be extra careful when spending every penny. In order to pay for the child's medical expenses, Hao Xiuping's family borrowed money from everywhere, and food and clothing for three meals a day became a luxury. When a child is sick, they have to turn to others for help, even at the cost of exhausting their own possessions. In order to alleviate this heavy psychological burden, Hao Xiuping and his wife decided to look for additional ways of income from their existing skills. Such an economic predicament has not only lowered their standard of living, but also brought them deep psychological pressure. They are constantly worried about the pressures of life, and the pressures of life force them to make difficult choices all the time. They are constantly anxious about the challenges of life, and the pressures of life constantly drive them to make difficult decisions.
Marginalized status in society.
Helplessness in life.
The daily lives of Hao Xiuping and her family continue to show their helplessness and hardship. Hao Xiuping's family's life seems to be pulled by ruthless time, they work hard, but they have never been able to escape the shackles of poverty. Despite their tremendous efforts, it is still difficult to escape the plight of poverty. Hao Xiuping's family struggled in the shadow of poverty, and the pressure of their livelihood made them feel helpless. Due to the harsh external environment and social oppression, it is difficult for them to make substantial changes. They long for a glimmer of hope to light the way, but the reality is always so cruel. When they encounter various problems, they often feel helpless and can only choose to bear them silently. Day after day, they struggle to get by, and the anxiety in their hearts takes root like a deep vine. The difficulties in life make them confused and uneasy about the future, they have no idea what the future will look like, and they do not know how to change the current situation. In these film and television dramas, poverty is not only an economic deficiency, but also a spiritual hardship. In domestic film and television works, the depiction of the character of the "poor" is often exaggerated, which leads to a misunderstanding of their lives by the audience. Their lives appear to be poor, but in fact they are luxurious, and this false portrayal is disappointing. In some TV series, characters who are referred to as "poor" are often portrayed as people living in extremely difficult circumstances, but in fact, they may have luxurious homes and extravagant lifestyles. Some viewers began to question the authenticity of film and television dramas, and they no longer easily believed the pictures of life presented on the screen. This exaggerated depiction of the poor is difficult for the audience to accept, and they often have doubts about the plot, believing that the screenwriter deliberately exaggerated emotions.
Unrealistic scenarios.
In domestic film and television works, in addition to the exaggerated descriptions of the poor, some plots often seem unrealistic. In these episodes, the characters' actions often do not fit into the social context and living conditions in which they live, giving a sense of unreality. For example, there are characters who, despite living in a relatively comfortable environment, constantly highlight the dilemmas they face, which creates a misunderstanding for the audience. Sometimes, these plots seem to ignore the internal logic of the characters' settings, and only exaggerate the characters' predicaments in order to create emotional resonance for the audience. Due to the lack of practicality of these plots, the audience has doubts about the plot, which reduces the reliability and viewing value of the work. This exaggerated portrayal is not only a misleading image of the poor, but also a distortion of social reality. Due to the untrue depictions of poor people in domestic film and television works, the audience has misread their lives. The characters often emphasize difficult situations, but in reality life is not like this. The audience may think that the living conditions of the poor are extremely poor, and they are trying to survive every day, but this is not the case. Therefore, when presenting the underprivileged groups in society, film and television works should pay more attention to authenticity and diversity, and avoid exaggerating their image of poverty. Such misunderstandings not only weaken the audience's understanding of the actual situation in society, but also further exacerbate prejudice and discrimination against poor groups.
The reliability of the plot has been questioned.
In domestic film and television works, the reliability of the plot is challenged by unrealistic poor characters and unrealistic plots. When the audience can't resonate emotionally with the characters, the plot loses its soul. It's hard for the audience to really resonate because they have doubts about the authenticity of the characters and the plot. Presenting a false image of the poor on the screen does not contribute to the audience's true understanding of the bottom of society. In this context, no matter how good the plot is, it is difficult to touch the emotions of the audience. Therefore, domestic film and television dramas should pay more attention to authenticity and dig deep into the real life conditions and emotional experiences of the poor group. In domestic film and television works, the unrealistic portrayal of the poor is not only a problem in the field of entertainment, but also profoundly shapes the society's perception of the poor. In film and television dramas, poor people are often portrayed as living in extreme hardship, but this often deviates from the real state of life. When the audience is in the first film and television works, it is easy to confuse their plots and characters with the poor groups in real life, resulting in misunderstandings and prejudices against the poor people. The misrepresentation of the image of the poor exaggerates the poor side of society, but the misleading artistic portrayal of this art makes the audience have a one-sided perception of the poor. Such misunderstandings not only hinder the progress of social harmony, but also further exacerbate the inequality between the rich and the poor.
Article 20.
The movie "Article 20" vividly depicts the life problems faced by ordinary people, especially the depiction of the poor, which seems very close to reality. The depiction and attention to the fate of the little people in the film not only allows us to see the living conditions of the people at the bottom during the transition period of Chinese society, but also reflects the director's unique creative perspective and artistic style. Although the characters in the film live in poverty and face various difficulties and challenges, they still show tenacity and optimism. The film takes the little people as the protagonists, and describes the ordinary and complex living conditions of ordinary people in detail and deeply, so that we can see the real living conditions of the people at the bottom and the beautiful life realm that our hearts desire. Through his meticulous and truthful descriptions, director Zhang Yimou makes the audience experience the daily life of ordinary people more deeply. In China, due to the constraints of backward economic development and the influence of traditional culture, "poverty" has always been an unspeakable but unavoidable topic. However, in stark contrast to the real life of poverty depicted in Article 20, the portrayal of the character of the "poor" in domestic film and television works is often exaggerated and sometimes even inaccurate. In some TV series, characters who are referred to as "poor" are often portrayed as people living in extremely difficult circumstances, but in fact, they may have luxurious homes and extravagant lifestyles. Some scholars call the poor in these works "pseudo-poor" and "pseudo-rich".And these "pseudo-poor" are often criticized by the audience. This exaggerated depiction of the poor is difficult for the audience to accept, and they often have doubts about the plot, believing that the screenwriter deliberately exaggerated emotions.
A call to portray the image of the poor in a realistic way.
Therefore, Article 20 provides us with a valuable lesson: domestic film and television works should more realistically portray the image of the poor, rather than over-exaggerating or inaccurate depictions. In the process of creation, we should try to combine social reality with the psychology of the characters, so as to make the works more realistic and ideological. Directors should learn from director Zhang Yimou's artistic techniques, and through the true and detailed depiction of the plight of the people at the bottom, so that the audience can have a deeper understanding and understanding of the actual living conditions of the poor. In addition, the director also needs to strengthen the psychological analysis of the characters at the bottom, and fully consider their personality characteristics when shaping the characters, so as to create more targeted. Only in this way can we truly improve the artistic quality of film and television works, guide the audience to look at the bottom of society with a correct attitude, and reduce misunderstanding and prejudice about the image of the poor. At present, there is a "poor" craze and "rich" craze in society, and this phenomenon has also received more and more people's attention and discussion. However, it is by no means easy to realistically portray the image of the poor. Due to the influence of ideological and other factors, people tend to focus on those characters that have been distorted. Faced with both commercial and aesthetic pressures, some directors and screenwriters may prefer to use exaggerated and emotionally rich techniques to attract the audience's attention. This not only destroys the authenticity of the work itself, but also affects the audience's understanding and cognition of social life. Therefore, finding a balance between commercial gains and artistic goals has become a major challenge for the domestic film and television industry. In the Chinese film market, there are not many works that truly depict the poor. In addition, the audience's perception of real poor people is also different, and some of them may be more inclined to appreciate beautiful fantasies than cruel facts.
Make the point that the depiction of the poor is untrue.
In domestic film and television works, the portrayal of the character of the "poor" is often exaggerated and sometimes even inaccurate. For example, "Pan Jinlian" in "I Am Not Pan Jinlian" was misread as "Pan Er".In the play, Pan San's identity is a ruffian. Against such a backdrop, it is difficult for the audience to resonate with real emotions because they have doubts about the authenticity of the characters and the plot. In recent years, many film and television works have overemphasized their own identity and status when creating characters, while ignoring the living conditions of ordinary people, resulting in confusion in the social image. This situation not only weakens the audience's understanding of the underclass, but also reduces the reliability and appreciation value of the work. Therefore, how to reshape the image of the "poor" has become an urgent problem to be solved. In the journey of artistic creation, both directors and screenwriters face great challenges. They must face real social problems, as well as various pressures from themselves and from the outside. On the one hand, they must take into account the preferences and needs of the audience and strive to create an appealing plot and character image. At the same time, it is also necessary to take into account the artistic quality and comprehensive ability of the actors themselves. From another point of view, they also need to deal with various problems and tests in daily life, and strive to show the real life of the bottom of society. Therefore, it is necessary to take both into account when creating. Artistic creation should reflect real life situations, but at the same time, it should not be too rigid in reality. This requires artists to transcend the limitations of reality when creating, and to observe, pay attention to, and express society from a unique perspective. Directors and screenwriters need to find a balance between art and real life, creating an appealing plot and image, while maintaining respect and representation of the real life at the bottom of society.
Some directors and screenwriters may feel that the audience is more inclined to see the variety and luxury of life than the real life of poverty. They hope to express the real feelings and inner world of the characters through the depiction of the details of life, so as to make the work more attractive and shocking. However, they must understand that untrue depictions not only contradict the principle of authenticity in art, but also weaken the ability of film and television works to reflect and criticize society. Authenticity is the most basic requirement for film and television artworks. In the process of artistic creation, directors should take on more responsibility to show the daily life of the people at the bottom of the society more realistically, rather than sacrificing authenticity in order to cater to the audience's preferences.
Controversial ending.
There may be directors and screenwriters who will have a different view of this view, believing that the audience is more inclined to see the variety and luxury of life than the real life of poverty. Only through real and profound portrayal can film and television works touch people's hearts and trigger the audience's thinking about social issues. However, we must understand that untrue depictions not only contradict the principle of authenticity in art, but also weaken the ability of film and television works to reflect and criticize society. Showing the real life of the bottom in film and television works is not only a respect for art, but also a call to social reality. Therefore, we strongly recommend that directors show more responsibility in the creative process, and show the daily life of the people at the bottom of the society more realistically, rather than sacrificing authenticity in order to cater to the audience's preferences.
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