Industrial theme drama "Song of Lushan": From "manufacturing" to "smart manufacturing"

Since the new century, although TV series such as "Big Craftsman" (2007), "Iron and Steel Age" (2011), "Dajiang Dahe" (2018) and "Pentium Age" (2019) have attracted some social attention, but most of the audiences are due to most viewers. Incentive is unfamiliar with industrial life. The theme of such themes is magnificent and lacks of popular fashion elements. It is not easy to express as the reality. The creation of industrial theme TV dramas has always been weaker. Recently, the director of the new era and the industrial drama "Song of Lushan", which reflects the director of the new era of heavy industrial enterprises from "manufacturing" to "intelligent manufacturing" reform and development theme, is closely attached to the theme of the times, expressing the industry with unique audiovisual language, showing the industry The new appearance and new breakthrough of the theme TV series.

Demonstration of the theme of the times:

Industrial theme echo the reform and enter the "deep water zone"

From the perspective of theme performance, the "Song of Lushan" to a certain extent is the inheritance and development of the urgency and arduousness of "heavy wings" such as "Heavy Wings" in the 1980s. Different from the grand narrative of the panoramic "history" of the reform process, "Song of Lushan" focuses on the anatomy sparrows of "things" (specific events) in the new period of reform, and the ink is strong.

The excavation of industrial themes in "Song of Lushan" is valuable. For the current Chinese TV series, industrial -themed TV series have quite a lot of challenges in the creation, shooting production, and audience acceptance. The technical and professionalism of industrial themes is very difficult to be transformed by the visual transformation of film and television dramas. "Song of Lushan" has taken the national strategy of rejuvenating the real economy as the background of the rejuvenation of the real economy since the 18th National Congress of the Communist Party of China. After passing the "deep water zone", the difficult journey of the predicament.

No matter how large themes are, as literary works, they must shape a distinctive and infectious character image. "The Song of Lushan" works well in character portrayal. In the play, Fang Ruizhou, created by the actor Hou Yong, wonderfully interpreted the spirit of the head of the state -owned enterprise in the face of the reform, facing the dilemma, adhering to the main business, and bravery with the world's "peak contest". But this character is not facial and symbolized. He has both the ambitions and courage of reformers, as well as the "heart abuse" and "middle -aged crisis" of middle -aged men. He was overbearing, but he was not for his personal career but for the future of the enterprise. He seemed to say nothing, but he was "one place" at home. He was being divorced. He was complained by his wife and even "cold violence." The actor Wei Yan has both the "sweeping monk" style that does not eat the fireworks and the paranoid side of scientific research. There are also the young people who dare to take responsibility and become flexible. He also has the other side of "poisonous tongue" and "warm man". The three -dimensional and lifestyle of Wei Yan's image broke through the single personality and flat shaping of such characters in the past. The image of the heroine Jin Yanzi appeared as an industrial worker in the new era. From "Female Workers" to "Frozen Name", most of the female workers in TV series in recent years have continued the tough and thin aspects of women in traditional Chinese narratives. Jin Yanzi's fast -moving language, dare to do, and "I want to be nails, I also want to wear fashion, I also want others to call me my sister", even her life -shaped personality, even her life, "neighboring home next door The "ordinary appearance of the" girl, all of which have dedicated the image of a fresh and natural young female worker to the audience.

The social significance and political standing of "Song of Lushan" are high. In the process of facing the industrial reform process, the problem of "industrial hollow", "core technology card neck" problem, economic development "break -up and false" problem, and the "power source" problem of "power sources" as the development of all plot festivals, These issues include the drama's thinking about China's development path, and also a response to the purpose of "Chinese -style modernization". In the play, Governor Qiu has a line saying that "the face and credibility of cadres are not a problem compared to the happiness of the people." It deeply answered the era of the era of "original intention" and the "original intention" of the reform of the reform.

Pursuit of artistic performance:

Visual expression and "industrial aesthetics" of industrial theme

At the beginning of "The Song of Lushan", Director Mao Weining continued his long shot technique in the start of the drama in "Fun -Li Yannian". This long shot of about 2 minutes passes from the outside to the room, and continues to cross and follow the room indoors. "The Song of Lushan" is more common in film shooting, showing some "industrial aesthetics" pursuit of film and television dramas: the big scenes such as the male and female protagonists encounter dangerous scenes, mountain collapse, car rolling, and wolf war. With the excellent quality of large -scale movies.

As the background and tone of the drama, the industrial aesthetic has made the drama hold the "ambition" of the unique visual style of the "Industrial" TV series at the beginning. There are many lenses that directly express the beauty of industrial machinery -towering pouring machines to render the magnificent momentum and romantic images of steel forests; the tacit dance in the operator in the workshop seems to have a spiritual rhinoceros; the lens often passes through The huge body of construction machinery is full of appreciation, lingering, religious ...

In order to strengthen the visual industrial aesthetics, the play often uses a large and wide -angle lens to shoot in the panoramic and panoramic environmental relationships. Although this brings "German expressionism", it is The perspective brought a strong visual impact and a new sense of novelty. Another method of shaping the industrial visual effect of the play is to shoot long and high -machine. Regardless of the inside and outside scenes, there are a large number of long -stroke lens scheduling, often from one mechanical to another mechanical. The lens is shook with the mechanical body, working arm or upper up. The play uses a wide -angle lens, mobile photography, and upper shots to show a huge mechanical body and sense of space, creating the beauty of unique visual images in the history of Chinese television. "Song of Lushan" also pursues the unity of unique industrial visual style and expression. The empty lens between the drama is also designed under the visual threshold of industrial aesthetics. These empty lenses consider carefully from the main body of the screen, the composition of the screen, and the lens scheduling, or emphasize the high -rise building of the city, or highlight the beauty of industrial shapes such as large bridges, or the outline and texture of public buildings. Through the carving of these picture details, the image is unified into the dimension of the beauty of the industry.电 The high difficulty of technology and professional TV series in industrial themes. "Song of Lushan" in the audiovisual language of TV dramas, pursuing the expression of visual aesthetics, will never be confused, but excels, but shows the beauty of the city and industrial life. Essence "Song of Lushan" also shows the integration of industrial life and daily life through art furnishings. For example, the black and white images and standard square workbenches of Einstein's photos hanging on the wall of Wei Yan's house all showed the integration of industrial aesthetics and life aesthetics inadvertently. The use of many high -cold industrial knowledge points in the play has made industrial aesthetics and daily life also produce interesting "grafting".

Throughout the drama, "Song of Lushan" respects both artistic requirements, cultural character, and industrial requirements for technology and operation. For the professionalism of how the current TV drama creation restores the subject matter, grasp the industrial aesthetic texture and real life concentration of the industrial drama, and pursue the dramatic creation of TV series, the polishing and artistic expression of the character, so that the industrial theme drama will satisfy the aesthetic of the audience at the moment. I like, "Song of Lushan" gives a strong answer.

(Professor of the School of Arts of Peking University, Chen Xuguang, a graduate student of the School of Art of Peking University)

Content source: Literature and Art News August 31, 2022

WeChat editor: Lu Yimeng

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