In this Spring Festival full of warm reunions, a hit period drama "South to North" broke into the public eye like a dark horse, and instantly topped the hot search list, which aroused the audience's warm attention and deep thinking. This drama not only carries people's ardent expectations for the content of the plot and the cast, but also reveals a silent collision between traditional aesthetic standards and modern aesthetic concepts.
As the popularity of "South to North" soared, a hotly discussed topic also surfaced - the proliferation of plastic surgery faces in film and television dramas. It is like a double-edged sword, challenging the aesthetics of the times in the screen world, making the audience and critics think deeply.
In the play, the role of Ma Yan played by Jin Chen should be a simple rural woman, but her awl-like delicate chin and elaborate nose have a strong contrast with the character setting. This kind of overly sculpted face seems to have become a burden on performance, making it difficult for the audience to fully participate in the plot, which raises the problem of balancing the burden of idols and the background of the characters.
Jin Chen is not alone, there are also actresses such as Jiang Yan and Hu Ke in "South to North", who are also facing questions brought by plastic surgery. Jiang Yan plays an elderly character in the play, and the lifting and filling marks on her face make her image far from the traces of the years that the character should have, and although Hu Ke has excellent acting skills, her overly smooth and stiff facial expressions and abrupt apple muscle design also greatly limit the delicate transmission of emotions and weaken the audience's sense of substitution.
The revolutionary drama "The Flame of the Avenue" was not spared, and the heavy makeup marks and conspicuous plastic surgery marks of the actors in the play regardless of the historical background are in stark contrast to the solemn and serious background of the revolutionary story. Such a face design is undoubtedly a direct impact on the historical authenticity of the series, which reduces the artistic appeal of the work, and even makes people doubt the crew's respect for the spirit of the times and the sincerity of the performance.
In film and television works, the beauty of the character's face is important, but whether it is suitable for the role is the key. Through the unnaturalness of facial details, the plastic surgery face destroys the three-dimensional sense and realism of the characters, making it difficult for the audience to resonate, which leads to the loss of emotional depth in the series. The excessively smooth facial lines and limited expression of expressions seriously hinder the rich display of the character's emotional world.
In the face of the audience's increasing aesthetic demand and pursuit of natural beauty, the industry has begun to call on production teams to reduce their reliance on "plastic faces" and instead embrace real and natural faces and diverse beauty. Only in this way can we truly enhance the credibility and layering of the characters, enhance the audience's emotional investment, and further enhance the artistic value and emotional connotation of the work.
To sum up, the existence of the phenomenon of "plastic surgery" in "South to North" and other period dramas has gone beyond the scope of simple aesthetic controversy, and deeply touched on the core issues of drama quality and audience acceptance. The audience and industry insiders hope that the future film and television dramas can break free from the shackles of plastic surgery aesthetics, return to the aesthetic exploration of diversity and nature, attach importance to the acting skills of actors and the in-depth shaping of roles, and use truth and nature as the key to winning the hearts of the audience**, so as to give the artwork stronger vitality and lasting charm.