Chinanews client, Beijing, January 29th (Reporter Shangguanyun) Before there was "I repaired cultural relics in the Forbidden City", and later there were "If a National Treasure could speak" and "I was in the Forbidden City for six hundred years". The documentary made many young audiences "very good."
For example, "If a National Treasure Can Speak", recently appeared on the hot search with its wonderful copywriting; the recently broadcast "I was in the Forbidden City for six hundred years" relied on meticulous narration of fans...they have different ways of popularizing science and cultural relics. , But surprisingly received praise.
Many netizens said that these documentaries did not pretend to be mysterious and curious, but instead carried a smoky and human touch.
Poster for the documentary "I was in the Forbidden City for six hundred years".
Picture courtesy
"High cold" documentaries can also be brainstorming
"We came to the world crying, but we can laugh towards eternity." This sentence, which appeared on the hot search a few days ago, came from "If the National Treasure Can Talk", and once again brought the documentary into flames.
If the impression of a documentary is cold and serious, then "If a National Treasure Can Talk" may be an "alien": each episode is only 5 minutes short, but the brain is infinite, and the style of painting is sometimes weird and refreshing.
In the feature film, cultural relics are the unique protagonists.
For example, "Lishibao Pattern Brocade" deconstructs the silk fabric process of the Tang Dynasty from the perspective of a modern designer, and uses "programming" thinking to interpret "the new style of the Tang Dynasty".
"Astana Figurines and Documents" restores a litigation dispute that occurred in the Tang Dynasty in the form of theater.
Talking about the Yellow River Tie Niu, the creative group used the perspective of a "bridge designer" thousands of years ago to popularize "Newton's Law" to the audience.
In addition, there are "Luo Shen Fu Tu", "Orchid Pavilion Preface"...These national treasures not only tell the artisan emotions and heavy history carried by themselves, but also let the audience feel the cultural connotation behind them.
The story behind the cultural relics and the smoke
In addition to distinctive telling styles, cultural and cultural documentaries often tell stories and show the beauty of cultural relics in the subtleties.
A few years ago, the popular "I repaired cultural relics in the Forbidden City" at station B illustrates this point.
Image source: video screenshot
This documentary is neither rendering nor sensational. It points the camera at the restoration of cultural relics, depicting the restoration process of different categories of cultural relics such as the Forbidden City lacquerware, clocks, weaving and embroidery, painting and calligraphy.
Take clock repair as an example. This is a task that tests patience and care.
Difficulties often recur. Master Wang Jin in the watch team will adjust every part little by little. He said, "It is also possible that this problem has to be adjusted for a day and a half."
In the film, there is also a story of life behind the scenes of the restorer.
For example, when the intense work is over, a restorer is going to perform a "special task". It turns out that the Forbidden City is completely non-smoking and needs to ride outside the Forbidden City to smoke.
There are 3 episodes of "I Repairing Cultural Relics in the Forbidden City". Almost every episode has collected dense barrage. Some praise the superb restoration skills, and some praise the exquisite cultural relics.
Many people say that after reading it the first time, they want to do the second or third brush.
There is also the recent broadcast of "I was in the Forbidden City for six hundred years".
From the restoration of ancient buildings to the annual repair and maintenance of the Forbidden City, the 600-year history of the Forbidden City is still connected with characters and details.
The inheritance of skills is one of the most touching places.
For example, Li Zenglin, the national inheritor of the Repairing Skills Department of the Forbidden City, will guide the completion of the plastering courses on exposed walls and personally demonstrate plastering techniques.
After he finished work, the palace wall was as smooth as new.
Through the documentary, those precious cultural relics are no longer cold, but a little more humane and fireworks.
Interesting "History Lesson"
After watching an episode of a cultural documentary, it sometimes feels like a "lively and interesting history lesson" for the audience.
There has always been a saying on the Internet that "women in the Tang Dynasty regarded fat as beauty", and "If a National Treasure Can Speak" also gave a popular science.
When it introduced the lady figurines of the Tang Dynasty, it said, “As a fat girl who struggles to lose weight every day, I once dreamed of living in Datang, but then I learned: the early Tang Dynasty is not fat, the late Tang Dynasty is bloated, even in the prosperous Tang Dynasty. Fat is beautiful, and you also have slim girlfriends around you."
Image source: video screenshot
After watching "I repaired cultural relics in the Forbidden City", people knew a lot of precious clocks, paintings and calligraphy; after watching "I was in the Forbidden City for six hundred years", the audience also learned about the history of Lingzhaoxuan and the little secrets of the Palace of Yangxin... …
Some people commented that, including "If a National Treasure Can Talk" and "I was in the Forbidden City for 600 Years", none of them introduced knowledge mechanically like manuals. They are life-oriented and therefore appear younger.
And this is also one of the important reasons to attract the audience.
Liang Junjian is one of the directors of "I am in the Forbidden City for six hundred years". He has noticed the increasing popularity of cultural and cultural documentaries early on. "Traditional documentaries are often a more serious program, and it is generally difficult to use relaxed entertainment as the theme. spread."
"But now the Internet has brought opportunities for this type of documentary: on the one hand, it is more deeply rooted in Chinese traditional culture, on the other hand, it strives to add the communication methods that young people like, so that the audience can receive knowledge efficiently and interestingly." He believes.
Xu Huan, the director of "If a National Treasure Can Talk" also mentioned that cultural relics are physical evidence of culture, and behind the scenes we still need to see the lives, thoughts, and emotions of the people who created it and the people of that era.
Pursuing valuable details can resonate with the audience.
Liang Junjian explained that through the texture of the cultural relics, the empathy of the audience is aroused, the windows of history are opened, and the spirit of generations of craftsmen are displayed.
(Finish)