List of high-quality authors.
The current situation of costume drama creation and the audience's response.
Introduction. In recent years, costume dramas have been a high-profile part of the Chinese film and television market. However, a series of new productions have sparked a strong response from audiences, who have made unusual negative comments about the plot, the actors' acting skills, and the overall level of production. This article will provide an in-depth analysis of five controversial costume dramas, "Pray for the Present Dynasty", "Amai in the Army", "Hua Qingge", "The Case of Tang Di Gong" and "Fairy Sword IV", so as to reveal the current status of costume drama creation and the real response of the audience.
1. "Pray for the Present Dynasty" - a disappointing work of a huge story.
In "Pray for the Present", the audience is confronted with a story of searching for memories and eventually losing them. However, this drama is widely considered by the audience to be the worst in the Sword and Fairy series. The relationship between the six in the play is intricate, and the emotional connection is even more complicated, but the originally huge story material is made boring by the shoddy film and television team. Viewers lament the lost opportunity, and what was expected to be a grand narrative for the Chinese version of Game of Thrones turns out to be regrettable.
Viewers pointed out that the problem with "Pray for the Future" is not only the huge story, but also the mishandling of this huge story by the production team. The complexity of the characters' relationships is not effectively shown, and the emotional entanglements between the characters become chaotic in the eyes of the audience. It originally had the potential to be comparable to "Game of Thrones", but in the end, it was omission in the details of the production, which is regrettable and disappointing.
2. "Amai in the Army" - a huge disappointment under expectations.
The long-awaited "Amai in the Army" has become a huge disappointment in the eyes of the audience. In the play, the heroine forcibly lowers her intelligence to others, and she is unruly just to highlight the attributes of the god of war, and this kind of plot logic puzzles the audience. Zhang Tianai and Zhang Haowei's performances have been criticized, especially the negative evaluation of the heroine's makeup and the male protagonist's "Feng Kechasing" filter. The audience wonders if the film and television drama market has once again encountered a shoddy trough.
The audience's disappointment with "Amai in the Army" stems from many aspects, one of which is the unreasonable logic of the plot. The intelligence of the hostess is shown as forcibly reducing the intelligence of others, which makes the audience feel unnatural and contrary to common sense. In addition, the heroine's unruly behavior, just to highlight her god of war attributes, is considered too far-fetched and single. The audience began to question the screenwriter's creative motives, feeling that his pursuit of coolness and sensationalism sacrificed the rationality of the plot.
The performances of Zhang Tianai and Zhang Haowei have also become the focus of criticism from the audience. The heroine's Korean-style thick flat eyebrows and the male protagonist's "Feng Kechai" filter are both considered to be improper handling of the character's image. These flaws in detail make the audience feel uncomfortable during the viewing process, and the evaluation of the overall work is also affected. The audience pointed out that not only is there a problem with the plot, but the image and performance of the actors are also one of the important reasons for the decline in perception.
3. "Flower Song" - a brainless work of a temporary partner.
For "Huaqing Song", the audience's evaluation is even more blunt: This is a genre that is filmed casually and watched casually. After watching more than 20 episodes, the audience felt that the author could not have been written by the heroine, and questioned the acting skills and plastic surgery of the female servant. The audience thinks that there are few actors who can act in the whole play, especially the funny performance of playing the emperor. This work is more like a brainless work of a temporary partner, which raises the audience's concerns about the level of costume drama production.
The audience's evaluation of "Flower Song" shows that it is not a well-planned work. First of all, the audience's suspicion of the author shows that the rationality of the script has been questioned. The audience thinks that the author cannot be written by the heroine, and this suspicion reflects the possible problems in the creation of the plot. Secondly, the questioning of the acting skills and plastic surgery of the female servants shows that the selection and performance of the actors have also caused dissatisfaction among the audience. There are almost few actors with superb acting skills recognized by the audience in the whole play, and the audience feels that this is a kind of snub to the audience of costume dramas.
The performance of playing the emperor has also become the focus of criticism from the audience. The audience thought the performance was comical, just elongating his face and squinting all day long, and such a performance was considered a brainless work of a temporary partner. This also makes the audience question the creative team of the costume drama, and feel that there are obvious omissions in the casting and acting skills of the overall work.
Fourth, "The Case of Di Gong of the Tang Dynasty" - the transformation from a detective drama to a power struggle drama.
The audience who was originally looking forward to the theme and cast felt the transformation of the plot in "The Case of Di Gong of the Tang Dynasty". At the beginning, the audience's evaluation of the plot and actors was not bad, thinking that it was more powerful than Xiao Xianrou. However, as the plot progresses, the audience suddenly finds that the plot is developing in the direction of women's equality, which in turn reveals that the screenwriter is a woman. This shift has bothered viewers and started to think about whether they should abandon the show. The reversal of this drama has raised doubts about the creative direction of costume dramas.
The audience's evaluation of "The Case of Di Gong of the Tang Dynasty" has attracted attention in the change of plot direction. At the beginning, the audience still felt novel and interesting about the setting of the detective plot of the costume drama, and thought it was an innovation. However, as the plot gradually develops, the audience discovers that the gender of the screenwriter becomes a key point in the plot, and this triggers the audience's disgust. The audience believes that the plot has turned into a power struggle plot that emphasizes women's equal rights, which is not in line with their expectations at the beginning, which leads to the audience's dissatisfaction with the direction of the plot.
5. "Sword and Fairy IV" - the most suspenseful but the most intimate.
The last work, "Sword and Fairy IV", also failed to escape criticism from the audience. The audience thinks that the production level of the IP's drama is poor, and the service and casting have been negatively evaluated. However, actor Mao Xiaohui's Liu Mengli was surprisingly appropriate, and the audience began to be impressed by her acting skills. Chen Zheyuan's image of Yun Tianhe was once considered unsuitable by the audience, but as the plot progressed, his efforts were gradually recognized. Ju Jingyi's Han Lingsha gradually lost her sense of growth in the hearts of the audience, and the whole drama was summarized by the audience as very shoddy and disappointing.
The audience's criticism of "Sword and Fairy IV" mainly focused on the level of production and casting. The audience thinks that the level of the IP's drama is poor, and the quality of the high-quality author list and casting has been negatively evaluated. In terms of casting, the audience's evaluation of the actors' performance ability and image restoration is generally not high. However, actor Mao Xiaohui's performance surprisingly attracted the attention of the audience, especially her portrayal of Liu Mengli's role. The audience gave a positive evaluation of Mao Xiaohui's performance, believing that she played a stable and bright role in the whole play.
Chen Zheyuan's image of Yun Tianhe was once considered unsuitable by the audience, but as the plot progressed, his efforts were gradually recognized. The audience began to understand his interpretation of the character and thought it was an unusual performance. Ju Jingyi's Han Lingsha gradually lost her sense of growth in the hearts of the audience. The audience felt that the growth and development of the characters was not dug deep enough, resulting in the whole plot becoming unattractive. The audience concluded that "Sword and Fairy IV" is a very shoddy and disappointing costume drama.
Conclusion. These five controversial costume dramas sparked a strong response among the audience. Whether it is the complexity of the plot, the acting skills of the actors, or the overall production level, it makes the audience feel dissatisfied. For the costume drama market, this is a profound reflection. The gap between the audience's expectations for high-quality costume dramas and the actual performance calls for a more attentive and professional creative team. In this era, audiences are no longer satisfied with shoddy productions, they are looking forward to works that can truly move people's hearts, and make costume dramas, the treasure of Chinese film and television, glow with new brilliance.
Future outlook. In the face of the audience's criticism and expectations, the producers of costume dramas should seriously reflect on and improve them. First of all, the creation of the script needs to be more in-depth, the relationship between the characters should be layered, and the emotional line should be clearer and clearer. Secondly, the casting and performance level of the actors also need to be improved to ensure that every role can be recognized by the audience. In addition, the production team should pay attention to details, and the costumes, props and makeup should be consistent with the background of the plot to avoid unreasonable plot and image presentation.
Costume dramas should pay more attention to respect for history and culture, dig deep into the characteristics of each era, and present a more realistic and representative ancient style for the audience. In addition, like the adapted dramas, the script creation of costume dramas should also pay more attention to the rationality of the story and the coherence of the plot, so as to avoid plot twists that are difficult for the audience to accept.
In general, through an in-depth analysis of these five controversial costume dramas, we can see the audience's strict requirements for the quality of costume dramas. As a treasure of Chinese film and television, costume dramas have rich historical and cultural connotations and should be treated more carefully. Only by improving the quality of the script, the performance level of the actors, and the overall production level can costume dramas regain respect and affection in the minds of the audience. This will also bring a more brilliant future to China's film and television industry.