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2020-01-11 17:14  www.phpfang.com


? ?? From the popularity of Blue Life and Death, which began in 2000, to the popularity of Han Liu in Asia and the world, which was represented by TV series in 2002, to the popularity of "The Force of Love ",20 years, South Korea has been using love as the theme of the creation of idol drama, not only to" feed "the national audience, but also to let the audience outside South Korea for the hero's love" breath, common fate ". Why are Korean TV dramas so successful in producing love? How do they grasp and extract the "essence" of love, so that audiences of different cultural backgrounds have the same feelings and experiences?


Korean drama is a major feature is good at making \"male god \", although also constantly produce\" goddess \", but basically is the goddess of running water, iron hit the male god. For 20 years, from Song Chengxian, Zhang Dongjian, Yuan Bin, Quan Xiangyou, Pei Yongjun to Su Zhixie, Xuanbin, Li Dongxu, Kong Liu and Zhao Yincheng, to Li Minhao, Jin Xiuxian, Li Zhongshuo, Nanzhuhe, Ding Haiyin... The korean drama of the male gods and symbiosis, produced from Jian Shuo male to Hua Mei male to gentle male three generations of different aesthetic orientation of the \"male god.\"


For the Korean idol drama with female as the main target audience and love as the main content, the male god's production has its inherent reason. But why are some people more likely to be the object or focus of attention? It involves both the micro-level of personal interaction on the likes and dislikes, as well as a more macro-sense of social norms and preset standards. By such standards, some people will be more aesthetically appropriate than others.


Television dramas as a mass-communication art cannot show \"sex \"- the physiological or genetic basis of love between men and women - but can show its media-oriented representation: sexiness. So the first path of love, is to sexy film and television representation. Sexiness becomes a kind of capital, connects every aspect of the social desire, the extremely commercial Korean drama molds its love story in accordance with this kind of theory. Specifically, there are three main strategies:


First, appearance and appearance. Looks and body are the basic threshold made by male gods, so we see Song Chengxian in \"Blue Life and death \", Pei Yongjun in\" Winter Love Song \", Jin Xiuxian in \"You from the Star\" and Li Zhongshuo in \"hearing your voice \". Each one is tall and handsome. In addition, in clothing, hair, makeup and other aspects, Korean drama completely to high standards to shape its appearance, to achieve the most in line with the public aesthetic cognition.


Second, emotional labor and performance. The \"overbearing \",\" warm\" and \"flirting\" of the male gods in the Korean drama are the expectations of attractive men in interpersonal communication. This expectation is both learned, what Judith Butler calls an exercise, and can be internalized as a \"second nature\" in the sense of Bourdieu. The screenwriter will do his best to add these exercises in detail to the charm of the leading actor.


Third, identity and social status. Social identity and status comes with the role of catalyst in the process of producing love. Li Minhao in \"The heir\" is the second generation of rich generation, Zheng Zhihuo in \"The Romantic Full House\" is the popular idol, Xuanbin in \"The Secret Garden\" is the company president, and in \"The Forced Landing of Love\" is embodied as the official second generation. The establishment of the status and status of the korean drama is based on the internal logic of love choice in the mainstream society. And women in the process, most of the \"domineering president\" as a complement to the appearance.


No pale, uninteresting love story has an audience. The love of korean drama is very popular, so on the basis of following the basic social principles, constantly deformed all kinds of seemingly break the existing concept of love, in order to achieve a breakthrough \"taboo\" drama effect, so as to achieve people's yearning for love and imagination of empathy. There may be errors in content and logic, but people tend to forgive them for obtaining alternative satisfaction. In a word, the aesthetic taste of the TV audience influenced by the consumer culture is nothing more than the TV model of wanting intimate relationship and the image projection of emotional immersion. Logic, truth, reason or reality are not important, empathy is king.


First, the love of abuse. Someone once joked that korean dramas have \"three treasures \": car accidents, cancer and poor cures. This is to say that the korean drama through the hero and heroine because of various diseases and accidents and lead to the twists and turns of love and tribulations, in the expression of love is fleeting and fragile at the same time, with lovers difficult to get married to affect the hearts of the audience. This fully summed up the early 2000 korean drama for love production routine, such as the early korean drama on behalf of \"blue life and death love \",\" winter love song \",\" the steps of heaven\" and so on.


Second, broken love. Breaking the boundary of love between people and combining imagination with legends and legends to represent love is a great innovation of Korean drama. Therefore, under the leadership of the core of love, korean drama can show such as \"my nine-tailed fox girlfriend\" such as human demon love, but also can show \"blue sea legend\" such as animal love; human ghost love is a classic category, widely known as \"ghost\" a nun \",\" oh, my ghost king,\" and so on; in addition,\" the bride of hebo \"is a description of the human god,\" you from the stars\" is an alien love, but to \"you are also human? People and non-human love, emotion is common, but both the effect of defamiliarization, but also the pleasure of challenge, it is not difficult to imagine why the Korean drama writers continue to create such.


Third, pluralistic love. In recent years, the Korean drama for the presentation of love, more is to break the various established cognitive ways to carry out. Such as the cross-class \"dragon eight Yi \", across the age of men and women\" often invited to eat beautiful sister \",\" descendants of the sun \", or even across the gender, such as \"coffee prince shop 1\",\" mung bean biography. Some korean dramas have even abandoned the standard for handsome men and women, such as \"my name is jin sanshun\" with handsome men and ugly women.


It can be seen that the Korean drama, which is constantly seeking new and changing, gives up the sad narrative, but also gives up the simple narrative, and integrates into the love manufacturing with a broader social background, thus making the Korean drama's production of love synchronize with the grasp of the audience's psychology. Love is the most intense and complicated of all human emotions. Because it is love, people become extremely harsh on TV series, but also because it is love, people become extremely tolerant to TV series. At the same time, it should be the important reason why the Korean drama is better than the love production of other TV dramas for \"ideal\" or \"unattainable \".


The cleverness of Korean drama, and its cunning, and its horror, is that it always sets love as a kind of spiritual yearning and opium, and it is only responsible for the good side, but it never goes any further - revealing the results later and being responsible for it. Love in the TV series becomes your afternoon daydream, if you wake up if lost, always quite sober; afraid that you are drunk, completely fall into the popular culture for the creation of love, will inevitably be impractical, so that for the other half of life, even more boring. From this point of view, the korean drama's shaping of love, or popular culture's production of love, is as the frankfurt scholars put it, cheap and extremely harmful.


Another cautionary note for korean dramas is that, like the vast majority of popular culture with a commercial orientation, love is confined to the youth group, so the love of the middle-aged and the elderly is almost invisible in korean dramas. Such love is naturally fierce, handsome men and women naturally pleasing to the eye, but also rigid, mean and realistic.


However, to be fair, korean drama reflects the general yearning and pursuit of love, caters to the imagination and vision of love, creates the fantasy and daydream of love, and continues to shape and package these love with the consumption culture of the middle class as the society develops. Thus it can be seen that love is not only a beautiful emotion, but also a core element of television creation, but also a mechanism for creating dreams of mass culture and consumer culture. However, it can also be seen that the Korean drama's narration of love and the construction of the internal mechanism of the cliche, its narrative motif tradition. However, for the busy, hard-working, chicken-haired modern, the temporary solace, satisfaction and warmth and pleasure from the daydreams of the TV series seem to be beyond reproach.