Recently, many TV dramas with contemporary themes have been broadcast, including translators, journalists, western chefs and various eye-catching career settings. With a sense of excitement that "China has begun to have a professional drama", the author couldn’t help but watch two episodes of Dear Translator, and had no preference for the two leading actors, simply because I was an English major and studied French as a foreign language. I want to see how TV plays show the mysterious profession of translators with elite colors.
When Huang Xuan canceled Yang Mi’s scholarship because she made a few mistakes, and asked her to leave Zurich early, I guessed (99.99% of the audience also guessed) that they would meet again, Yang Mi would gamble and prove to Huang Xuan that she was not a fool, and then Huang Xuan would change her attitude to not marry unless she did, but in the meantime, she would go through numerous misunderstandings, jump out of several obstacles, and fight hand in hand after infighting. This is a classic routine of idol love drama, but translators dare not take it so seriously. Not to mention that Zurich is a German-speaking area, how did the two French translators of the hero and heroine go there to glow? The key heroine didn’t swear at random and didn’t drink and make trouble (which is what the hero did), but she said two wrong words and the file was stained from now on. Isn’t this hero a little powerful?
With the development of the plot, the autocratic personality of the hero is becoming more and more distinct, either yelling at the female fans who openly express their admiration during the interview or playing down a peg or two for the heroine. Some people say that this is called "the overbearing president falls in love with me". As long as the girls in Grade 2 are happy, they don’t have to worry about the plot and reality. With a sigh, that’s all. People in Huang Xuan, Yang Mi don’t want to die. Is it purely troublesome for you to demand that the mouth of the hero and heroine and the French pronunciation are not right?
Recently, there is a new TV series "If a woman is not strong, Heaven forbid", which tells the story of a journalist. The heroine played by Christina has gone from the heyday of the paper media to the decline, trying to adapt to the changes of the times all the way. Good story! This is the change I am experiencing as a paper reporter. I’m interested again. I just watched an episode this time, but I can’t help being serious: veteran reporter Chen Xiaoyi and rookie reporter Christina braved the flood to interview the affected people, and they were told not to go. The island is isolated from the outside world, which is very dangerous. Chen Xiaoyi explained, "We have to go up. What about the newspaper tomorrow if we don’t go up?" At the critical moment, the reporter is not thinking about the victims, but that there will be trouble if the task is not completed. She can say, "If we leave the victims on the island alone, who will know their situation?" However, the confused person in charge sent the confused reporter to the island. Then the victims rushed to tell reporters about the disaster, but Chen Xiaoyi put them aside and asked directly: "Which one is the most seriously affected now?"
If she asks, "How did you all get out of danger? What is the biggest difficulty at present? What help do you need? " Is it more professional and human? The faults in professional details reflect the writers’ lack of understanding of the media industry. The image of the "old fritters" in the paper media holding the iron rice bowl and waiting for death is still vivid, but the thinness of the career description is somewhat unsatisfactory. The screenwriter Liu Liu seems to be more keen on using the industry to criticize the shortcomings of the times. The same is true of the previous "Mind". From the hospital and society to life, all kinds of opinions are expressed, and the way is still "Dwelling House".
Domestic TV dramas either fall in love in a workplace coat or use the workplace to guide the country. Why can’t there be a real professional drama that can compete with Grey’s Intern, Proud Wife and Mad Men? China TV series still lacks a really fine division of screenwriters. In the previous paragraph, an audience vomited "Ode to Joy", but Andy, as a CFO, was doing the CEO’s thing, not talking about financing, but holding on to product innovation every day. The screenwriter Yuan Bullet admitted that he didn’t know much about the commercial part. "A lot of related content was left there until the shooting." In American TV series, the vacant chapter is filled by real professionals.
A post-90 s screenwriter friend told me that the company wanted her to write a professional drama reflecting financial institutions, but she was born in a drama, film and television literature class and had no understanding of finance. The boss thought simply, and asked several financial elites to introduce the situation to the screenwriter. After listening to it all afternoon, she was still puzzled and didn’t get to the point. "If you don’t practice there for more than half a year, how can you write it?"
The boss mentioned above is one of the many gold diggers who have transferred from the financial field to the film and television industry in the past two years. For them, script creativity is not literary creation, but formulaic production, even if it cannot be mass-produced. The word "IP" was invented for them. In their view, with IP, the value of works can be quantified and derived endlessly.
When can children see the film and television dramas that truly reflect the professional life of contemporary Chinese? I’m afraid we have to wait until the day when the "golden owner" becomes an expert in film and television investment, and the "screenwriter" subdivides various titles, and most of the active people in the film and television circle are professionals.