TV series " Our Ten Years " poster
TV series "We Our Ten Years" consists of eleven unit dramas created by different directors and directors, and has artistic characteristics in terms of time and space, narrative strategy, character shaping, lens language, etc. These eleven unit dramas can be both independent and connected into pearls. This overall structure of prose culture points to the common artistic characteristics - authenticity and reality with the spiritual connotation of "the body is dispersed and the spirit is not dispersed". Through the artistic technique of "making big with small", the whole play demonstrates the theme of "extraordinary ten years, struggle is my own" in the artistic style.
TV series "We've been this decade" poster
"We've been this decade" has no positive attacks on major events and obvious development achievements. The main creators use a straight-eye lens to focus on soldiers, teachers, agricultural makers, entrepreneurial youths, snack bar owners, troupe directors, foreign aid builders and other ordinary characters around us. They temper the struggle experiences of the prototype characters from life, and through the ideological, psychological and emotional resonance generated by breathing and sharing the same destiny with the times, they complete the artistic appeal of the play's theme and intention. In "Qianhai", the audience saw from the inspirational path of Ye Zhou, an ordinary young man from Hong Kong, that after Hong Kong returned to , in the context of the construction of Guangdong-Hong Kong-Macao Greater Bay Area in the new era, Hong Kong compatriots have the same opportunity to realize the " Chinese Dream " like young people in the mainland. In "Three Meals a Day", it seems that there is no major event on anti-corruption and integrity since the 18th National Congress of the Communist Party of China, but the audience is from a debate on the business philosophy of the father and daughter of Cai Wuwei Noodle Shop. Through the plot of "Three Meals a Day" Noodle Shop, the "Three Meals a Day" store changed from a high-end restaurant to a popular snack bar, showing the far-reaching impact of the "Eight Regulations" of strict party governance on all walks of life on Chinese society. In " Lijian ", the plot narrative of the male protagonist leading the officers and soldiers through arduous practical training and revitalizing the heroic spirit of the Tiger Regiment reflects a series of military reform measures such as disarmament and technological strengthening of the army in the new era, and sees the profound changes brought by the Chinese army from combat effectiveness to mental outlook. In "Where the Heart", the image of a young female returning home is shaping the image of a "farmer maker" that reveals that under the background of the "new rural construction", rural China is attracting more and more young people to return to their hometowns to start businesses with a new look of "a vast world and great achievements".
Stills of the TV series "We're the Ten Years"
How to tell eleven stories well and be ordinary and not dull is the most difficult. The outstanding artistic feature of the play lies in "writing people", which not only narrows the distance with the protagonist with a small incision, but also creates different time and space fields such as bustling cities, remote borders, deserts, various urban styles, and rural customs, bringing the audience a sense of familiarity and enhancing viewing expectations. After watching " Love ", you will find that in the remote countryside of Xinjiang, there are such a group of innocent children who love football. Many of them have entered professional football clubs or entered the gates of colleges and universities through persistent efforts. When watching, they naturally integrate into the children's football world and are infected by the children's dream of success. After reading "Three Meals a Day", the traditional production process of Lingnan rice noodle seems to have the artistic conception of "China on the Tip of the Tongue" exploring the secrets of food, and an ordinary old man's persistence in traditional food culture. After watching " Tang Palace Night Banquet ", I learned about the good intentions of the main creators to grasp the hot topics, and explored the sensational dance "Tang Palace Night Banquet" and how the essence of Chinese traditional culture was rejuvenated after giving the current aesthetic. The eleven strong plots that squeeze out moisture are artistic conception , which makes the whole play add artistic appeal to the high spirit of the new era.
Stills of the TV series "We're Here"
The drama closely connects the character creation with the background of the times, emphasizing the mutual empowerment between the characters. In "Qianhai", Hong Kong entrepreneur Ye Zhou staged a story about "a thousand-mile horse meets a Bole" between him and the director of the project department of Shenzhen Qianhai Dream Factory.In "Love", young physical education teacher Zhang Lei was moved by the children's love for football while "teaching" at Jiagastai Town Middle School in Yili, Xinjiang. The children were also infected by the seriousness and persistence of this young football coach in Han nationality. The children realized their dreams and changed their destiny through hard work. Teacher Zhang Lei also found the soil for realizing their self-worth and took root here. It is through this kind of mutually empowering character creation that the spiral positive energy accumulates as the plot progresses. Through the inspirational plot interpretation of quantitative change to qualitative change, the ego of "struggle with me" is split into countless shared selfs with the "Chinese Dream" in the "extraordinary decade". This artistic technique similar to the transference and synesthesia in traditional Chinese culture always resonates in achieving the spiritual harmony between the audience and the characters in the play.
TV series "The Ten Years of Us" stills
TV series "The Ten Years of Us" pays great attention to the perspective of a third party, narrative strategies with curves rather than linear shapes, telling stories from a multi-dimensional way, and shaping characters in three-dimensional way. In "Desert Light", Chinese photovoltaic power builders overcome various difficulties in the North Africa desert and send light to local villagers. The main creator did not simply "put me as the main" to lay out the plot and portray the characters, but instead introduced the "third party" Hassan. Through the plot of Hassan's father working outside, he and his grandfather depended on each other at home, and he was financially strapped but reluctant to sell sheep, the plot reflected from the side the changes in the village after the arrival of the Chinese. Some villagers led by the village chief have experienced the help of so-called Western aiders, and what they were left with was a mess that could not even grow cotton. Only the Chinese not only built photovoltaic power stations and dug wells for them, but more valuable is that they protected the local ecological environment. This interpretation of China's "Belt and Road" building a community with a shared future for mankind through the perspective of third-party observation is more artistically persuasive. In "Qianhai", we use the emotional perspective of "deep love and deep responsibility" of ordinary middle-aged couples in Hong Kong to witness their son Ye Zhou's entrepreneurial path of repeated failures. The superb acting skills of Gallian Luo and Ke Lan depict the restrained emotional expression of oriental people delicately and layeredly. The third perspective of this emotional stance highlights the struggle spirit of Hong Kong youth in the down-to-earth Cantonese lines and the fireworks-filled urban life scenes.
Stills of the TV series "We've been this decade"
The drama also faces the confusion and problems we encountered in the social transformation and development in the past decade with the true inner portrayal of the characters in the play. "Love" truly reproduces the distance between the reality and ideal of "teaching" in the frontier through the perspective of the male lead; "Night Banquet in Tang Palace" tells the painful transformation of traditional literary and artistic groups under the impact of reform and market; "Listen Sword" faces the problems of "people are overdoing" in the troops before the military reform. The purpose of not avoiding the problem is to show the characters in the play's persistence in ideals and beliefs, which truly deserves the narrative theme of the play's "Extraordinary decade, I have to struggle".
Just like in the "Tang Palace Night Banquet", the heroine gives Chinese traditional culture modern aesthetics through the inspiration brought by the Tang figurines in the museum , thus choreographing the "Tang Palace Night Banquet" dance that caused sensation in the world. The TV series "We've Years" accurately grasps the aesthetic trends of the current audience. From the aspects of subject selection, artistic presentation, communication paths, etc., it witnesses the spiritual dimensions of the Chinese people in the past ten years with eleven ordinary but not ordinary stories, bringing new breakthroughs to the creation of theme film and television dramas.
Author: Gao Xiaoli | Director of the Art Department of "Literature and Art Daily" and signed critic of the Beijing Federation of Literary and Art Circles
