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Home   /   The Beijing drama after the Olympics tells about the struggle of young people and inherits the old wisdom of the previous generation

The Beijing drama after the Olympics tells about the struggle of young people and inherits the old wisdom of the previous generation
After the 2008 Beijing Olympic Games, Beijing developed rapidly as an international metropolis.In the film and television works, the “Beijing Flavor” of old Beijing fades away. Currently in the life of the “New Beijing People” shown in the “Love” broadcast on Beijing Satellite TV, it involves “escape from Beijing to Shanghai”, “people and self”Relationship”, “Blind Date”, “Fear of Marriage” and many other social hot topics.Beijing in this period is inclusive and diverse.As the collaboration progresses, the sense of distinctiveness of each city and the difference in life decline.In Beijing, we have concentrated on the most cutting-edge and lively discussions in China, where there are both the struggle and love of boys and girls, as well as the frustration and reflections on the issue of pension.Among them, director Zhao Baogang used “Beijing Youth” as the ending of his “Trilogy of Struggle”, reflecting the confusion and ideals of “Beijing Youth”.The heroine’s hard work in this big city in “Beijing Women’s Illustrated Book” is also impressive.”North drift” is not enough to summarize the life style of this generation of young people.At the moment, Beijing accepts people from all over the world as an immigrant city.While Beijing is appearing in more and more diverse styles in film and television works, some directors are devoted to filming “Old Beijing” in their minds. Liu Jiacheng, known as “Director of Beijing Taste”, has led a round of “retro”Trend.Every piece of work from his hand swept the screen with a dark horse posture, no hottest actors, no hundreds of millions of productions, but always wins with stories and texture.From “Under Zhengyang Gate” to “Love in the Courtyard” to “Little Woman Under Zhengyang Gate” and “Sesame Alley”, although the story of this series of works is different, the style and core are the same, continuing the “old Beijingers”.There is a traditional life of “face inside”.The most “Beijing” youth drama of Beijing youths in pursuit of the distance in this decade must be “Beijing Youth”.The four cousins who were born and raised in Beijing, He Dong, He Xi, He Nan, and He Bei, have diverse aspirations.He Dong had a very virtuous girlfriend, a stable job, when he registered his marriage, he suddenly repented, broke up quickly, resigned, he suddenly felt that his life was arranged, this life is not his own life,He wants to retake his youth and find his true goal in life.After the broadcast of “Beijing Youth”, it caused huge controversy. Many people believed that Zhao Baogang “teached” young people to resign easily and blindly pursued “distance” irresponsible.Zhao Baogang responded in an exclusive interview with Sauna Night. Instead of letting everyone quit his job, he felt that young people should think about it. When you set up a family, you will have no time to leave when you have children. Only when you are young can you go.”I just promote a concept that young people should not be trapped in the inertia of society.As a native of Beijing, Zhao Baogang has the same body and the “Beijing Youth” in the play is not harmonious and optimistic.A part of “Beijing Youth” also reflects the director himself. He said that if he is allowed to return to youth, he will definitely follow the way written in “Beijing Youth”.There were too few places to go when he was young.At that time, his ideal was to stay away from his parents, go to a strange city to study, and to go around, but they did not realize it.Since the beginning of the new century, after undergoing reforms such as university enrollment expansion, the level of young people’s education has far exceeded that of Zhao Baogang’s era. Zhao Baogang’s focus is that this generation of young people has no education and no abilityOn the surface, the children of this generation are very good, but they are exposed when they encounter specific things.He called this generation of children “the deformed and confused generation”.This theme has penetrated into the plot from “Struggle” and “Who is My Youth”. One thing he wants to do, parents always have to obstruct it, and then it is “Beijing Youth”, thinking about how to face it.In this society, a new generation of young people must have the qualities and types of abilities to make a difference.In Zhao Baogang’s view, he records the changes of young people in the city of Beijing, and is the voice of the times.The typical love of the 1990s cast in “Over Addiction”; “Trilogy of Struggle” records the changes of young people in the beginning of this century after 2000.Zhao Baogang said that he has a special feature in filming now, that is, he only shoots in areas he is familiar with.Everyone knows that Beijingers are particularly eloquent, and Beijingers have a straighter intestine, and they are not afraid of doing anything wrong. This is their personality.Another reason is that Beijing also has a certain supplement, because Beijingers live under the roots of the imperial city, but ancient Beijingers could not enter the imperial palace, which formed the spirit of self-deprecating and self-entertainment of Beijingers.This spirit is exactly what is needed in today’s society. Zhao Baogang just wanted to use the Beijingers to spread this spirit to young people across the country.A family sample of Lao Youyi As a landmark city, Beijing hosts the dynamic life of popular attractions.”Elderly care” is a big topic that will inevitably appear during the rapid development of society.Zhao Baogang’s thoughts on pension issues existed before “Beijing Youth”. Starting from the preparation of “Lao Yi Yi”, he ran 40 Beijing nursing homes and elderly apartments, and wrote the stories of the elderly into the script.Also concerned about the issue of “retirement” is director Yang Asia.”Now there are more than 200 million young and old people. For such a large group of old people, our creation cannot be indifferent.”Yang Asia said that creation is inseparable from life and experience. In his” Hey, Old Man! “”In the” Old Man “there will be more or less the shadow of his father.Huang Haipi, the Beijing “son” played by Huang Lei, has an optimistic personality and usually likes to be sleazy.”Hey, old man!”Is a line with Liu Haipi. In the play, he often said” Hey, old man! “”Say hello to the father played by Li Xuejian in this way, and the name” Beijing Poor Children “is also a manifestation of the relationship between their father and son.The creators like to put the topic of the times or the history of change in the city of Beijing, at the forefront of the pace of reform and advancement. Beijing ‘s Siheyuan and Hutong are all good places to discover stories.In Yang Asia’s view, Beijing is the Beijing of all China, and the “Beijing Opera” is for the people of the whole country.In the “Beijing Xicheng Story” he is shooting, he once again shot the Baita Hutong, which is a place Yang Yang is familiar with and loves. In the “Empty Mirror” 18 years ago, the Baita and the east side will appear in almost every episodeThat alley.Yang Asia still remembers the scene when he first arrived in Beijing. His yearning for Beijing even exceeds his love for his hometown.Afterwards, Yang Asia went to university at the Central Academy of Drama. He had a life in Beijing. At that time, he studied acting and went to experience life every day. At the Beijing Railway Station, Wangfujing observed various people, and people in Hutong were also familiar.”Beijing Xicheng Story” is the first time that Yang Asia has filmed a Beijing drama of a chronological span.He likes the Korean drama “Please answer 1988” to tell the changes of a street in a warm atmosphere.The “Beijing Xicheng Story” shows the growth of the Hutong young people’s lives and reflects the changes of Beijing in the past 30 to 40 years.Another generation of people who went to Beijing successfully defined the head of wider publicity Zhang Junwei said that “Beijing Women’s Illustrated Book” shows an ascending channel for women’s independence. To reflect the changes of the times, it must be positioned in a big city.There is no “workplace” concept in small cities, and third-tier cities only have jobs and no workplaces.In comparison, in another “Shanghai Women’s Illustrated Book”, the focus is not on showing the “ascending channel”, and the story opens quickly into the perspective of the elite in the workplace. It is not as universal as Beijing.The characteristic of Beijing is that it is large enough to be grounded. These cities have a low profile and diversification. The people in the city do not live very hypocritically and are open.If “Longing” shows the Beijing natives, the family, and the core Beijingers, Zhao Baogang’s works are mainly “Beijing local children”, then “Beijing Love Story” and “Beijing Women’s Illustrated Book” show “new”Beijing people”, they come from cities all over the country, have their own studies, and their skills stay in Beijing.When “Beijing Love Story” is hot, the background music replays Wang Feng’s “Beijing, Beijing”. In the play, the three leading actors have some love in Beijing, and some people have lost their way here.In this city with neon lights but dark tides, some people get it, some people lose it.The decade after the Olympics is a decade of rapid development in Beijing. China has maintained a rapid growth of nearly 10% of GDP. Behind the rising data is the earth-shaking world change.”In Beijing, you will never swipe your card at Guomao only because of one effort, nor can you live decently in the Three Rings because of two efforts. You only have the opportunity to work with twelve points.Live an ideal life here.This line of “Beijing Women’s Illustrated Book” supplements the other side of Beijing during this period.Unlike the “Beijing Little Youth” presented by Zhao Baogang, the “Beijing Women’s Illustrated Book” shows a process in which a girl “Chen Ke” from a small city has a connection with a big city.”Efforts to make money, to buy a car to buy a house,” this sentence of Chen Ke is also the life goal of many young people drifting north.In the opinion of Zhang Junwei, the head of publicity for the troupe, Chen Ke is very popular. The audience may not have experienced the unspoken rules of the workplace, but how many have experienced the basement shared housing, and may have not encountered the rich second generation, but at least once had the economyApply to male hands.Chen Ke is experiencing these “Beijing pains” and “Beijing itches”. Sometimes he feels that running has become a habit.Chen Ke experienced ten years of struggle in the play, and finally got closer and closer to his dream.Chen Ke ‘s ten years in Beijing is also at a time when changes are accelerating in this era. The plot focuses on the real social issues such as buying a house, hukou, love and bread that are common in metropolises.Zhang Junwei said that the original intention of “Beijing Women’s Illustrated Book” is not to use “city” as the starting point, not to be a landmark in Beijing, but a work of the new female era, an iteration of the traditional women in “Aspire”.In the play, Chen Ke came to Beijing by train from her hometown and town. After she succeeded, she took the same train back to her hometown. The “train” is the way for ordinary town youths to rise.This play is about people who are both in Beijing and who have dreams.Zhang Junwei said that after they laid the “foundation”, they could still leave, just choosing their own suitable lifestyle at each stage.”Society is gradually developing, and film and television works provide more choices, rather than being called the answer, not staying in Beijing is successful.Although this play is called “Beijing Women’s Book”, it does not limit the possibilities.”Chen Ke started at the front desk, went through choices and was selected, and finally continued to move forward firmly in Beijing.”The title of the series is all a question, asking people who are staying in Beijing or even want to leave Beijing. Part of it is “Understanding the dining culture can be integrated into the Beijing circle”, “The Law of Survival of the Rookie in the Workplace”, etc.From the perspective of Liu Jiacheng, the “retro” Beijing script passed the same kind of goodness. The new Beijing is constantly developing, and the traditional culture of the old Beijing should also be inherited in the development.For example, the “filial piety culture” passed in “Love in the Courtyard”, old Beijingers pay attention to “old and old people”, young and old respect humble, humble neighbors, “how to see the old people how to say hello, how to eat with old peopleMany young people have forgotten.Including my son who sometimes eats with me, I often say ‘not allowed to say you, wo n’t you?’Now we are still these.These traditional cultures of old Beijing should not be forgotten.”From the” Beijing Three Dramas “,” Silly Spring “,” Under Zhengyang Gate “and” Love in the Courtyard “to” The Little Woman Under Zhengyang Gate “and” Sesame Alley “, Liu Jiacheng filmed five Beijing-style themes in eight yearsWhen he was in rush, he shaped various typical old Beijing small people in the Hutong courtyard, recorded the traditional culture and humanities of old Beijing, and was praised by the audience as “Beijing director”.As an old Beijinger, Liu Jiacheng believes that the biggest feature of Jingweier is not the mansion door and the erotic sound, but the “soul” of Beijing-harmony and integration.Being human, being sentimental, being urban, and accommodating Baichuan, “Beijing needs to develop in its inheritance, and there are too many traditional cultures in Beijing that are worthy of our showing and promotion.Beijing-flavored children’s dramas express feelings and reflect on society and young people today.”A still picture of” Love in the Courtyard “.The picture comes from the decades of old Beijing life on the Internet, which created Liu Jiacheng’s confidence in shooting Beijing-style children’s dramas.Dare to think and dare in “Silly Spring”, one jacks up the eldest sister “Silly Spring” of the whole family, “Silly Pillar” who selflessly supports an old man in a courtyard in “Love in the Courtyard”, and forgive the betrayal in “The Little Woman under Zhengyang Gate”Xu Huizhen, who has lived with her husband and rivals in shopping malls, Liu Jiacheng wanted to show the love and sense of Beijingers through his works.”A lot of post-90s and post-00s feel that these photos I took are particularly fresh. How can people be so beautiful?Why does ‘silly pillar’ treat old people in the quadrangle as if it were to their biological parents?This is a Beijinger, even if his face is cold, but his heart is hot, hatred is not your life and death, the heart is full of goodness.”This is one of the reasons why Liu Jiacheng loves old Beijing alone.This city, the people in this city, seem to have an all-inclusive atmosphere.At the beginning of the reform and opening up, more and more outsiders gathered near Liu Jiacheng’s residence. At first, they opened Jetta. Most of them were replaced by Mercedes-Benz and BMW after four or five years.”Foreigners come to Beijing, and Beijing gives them opportunities.Beijingers are also foreigners, you come to me, I do not exclude.”In 2012, Liu Jiacheng filmed” Under Zhengyang Gate “in Caochang Hutong in Dongcheng District (formerly Chongwen District).This is one of the most typical hutong areas in old Beijing. It used to be a waterway for transporting forage. It is located in hundreds of Qing dynasty townships and commercial halls.In 2017, Liu Jiacheng planned to continue shooting “Little Woman Under Zhengyang Gate” in Caochang Hutong, but found that some areas have become tourist attractions. The air conditioning codes are neatly arranged, beautiful and livable, but they are no longer “old Beijing”.According to Liu Jiacheng, the bricks and tiles, the corners, and the house number in the past all reveal the breath of life and culture in Beijing for so many years.The mottled sense of each room beam contains the culture and history of Beijing over the past few decades. “The taste of old Beijing has changed. This is not something that the art of the crew can supplement.”Today, the most popular topic among Beijingers is” I miss the old Beijing. “As a national political and economic center, Beijing has gradually developed into a comprehensive metropolis.Liu Jiacheng believes that this is actually another “soul” of Beijing-tolerance and integration.Beijing is an ancient capital with a history of more than 3,000 years. The talents, culture, and ideas of the whole country are gathered here; no matter what foreign goods are imported, they will be merged by Beijing flavor in Beijing, just as Peking opera has evolved from Huiban to Beijing.But as an old Beijinger, watching Beijing grow larger and fewer locals, the old Beijing and the new Beijing are moving from the conflict of ideas to integration. Liu Jiacheng hopes to shoot a new Beijing story to record this change.”Many Beijing-style dramas have come to me, but we have to keep up with the times.Beijing is not the Beijing of Beijingers, but the capital of the people of the whole country. The old Beijingers in the past have this kind of mind, and the new Beijing should have it now.”For example, old Beijingers have moved into the unit building from the courtyard, the big guys no longer open the neighborhood neighbor meeting, and the reinforced concrete has closed their emotions. How can they slowly adapt to social changes while missing the past?How can the old Beijingers insist on the kindness and enthusiasm in their bones in a cold society?Beijingers are content and happy, have a home and a room, and have a full-hearted personality. Should they learn the hard work of other urbanites under the integration?”If we turn these conflicting concepts and contradictions into one another and finally merge and learn from each other in Beijing, this is a good story for Beijing today.”Sauna, Ye Wang Liu Wei Zhang He editor Tong Na proofreading Zhao Lin. For more details, please see the topic >>> Beijing Opera and Children