The industrial drama "Song of Lushan" has a strong "industrial gene" and is popular in the circle
[How to see reality in realistic works] "It's time for young people to re-understand the 'Three Works' and love the industry again"
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The ratings, popularity, and word-of-mouth have soared all the way... "Song of Lushan" broke the circle and even exploded, as experts praised: "It is full of familiar strangeness, full of surprising unexpectedness."
This also seems to mean that over the years, industrial themes, realism, main themes... These so-called "contextual barriers" between audiences are also psychological barriers set up by many creators.
"Condensed the theme into one sentence, that is, 'We workers have strength and knowledge'."
In high-frequency interviews, Mao Weining would say this sentence every time.
It is not just Mao Weining's ideal to warm up the cold subject and let the hard subject "soft land".
"When we talk about 'big factories' now, people think of some Internet companies. In fact, we forget about the big factories with tens of thousands of workers in the traditional sense," said screenwriter Wang Chenggang.
The title of "Song of Lushan" was also called "Top Priority" the day before it was broadcast. The hard-core original intention of the main creative team has always been very real, even urgent.
But just like the metamorphosis of the play's title, they have also been sorting out various relationships between industry and the public, factories and human fireworks, etc., trying to penetrate the beauty of industry into people's hearts-especially the hearts of young people in "empathy".
just in time
The profound changes brought about by the new industrial revolution have happened, and they are happening around young people, but young people are still fleeing factories.
"Now China's industries and factories have exceeded the imagination of the audience." The main creative team of "Song of Lushan" was shocked by the collection and experience of companies full of technology in Changsha, the capital of construction machinery.
Mao Weining, the chief director of "Proposition Composition", said: "The changes are amazing. It's time to tell young people about these great changes." In an interview with a reporter from "Workers Daily", he also emphasized that it is necessary to let more people Re-recognize the "Three Works" and love the industry again.
"The most important thing is still people." Mao Weining and the main creative team very accurately explored the connection between industrial spirit and artistic spirit, and insisted on creating with "industrial spirit as the core", in the real scene of human and machine getting along Act dramatic.
"Putting grand propositions into detailed reality tests the creator's insight into life and the specific ability to reproduce this life in dramas." This profound insight has actually given great inspiration to the "proposition party": to implement the new industrialization strategy, and to promote the spirit of model workers, labor, craftsmen and even entrepreneurship, both hard measures and soft power are needed.
Therefore, it is surprising and expected that in the production square of this tribute drama and theme drama, there are not only the publicity department, but also the trade union organization.
Empathy happens
The long-term absence of industrial themes in the field of popular culture and film and television creation has led to more and more people becoming more unfamiliar with industry, factories and workers because they do not understand it.
The "psychological isolation" between industry and the public seems to be a cultural phenomenon. It falls into the reality of economic development, and it also exacerbates the bottom-level confusion in the development of the industrial economy, especially the manufacturing industry. The lack of "industrial genes" makes factories more and more necessary. Young people, the farther they are from the factory and the machine.
Experts and scholars have carried out various praises and interpretations of "Song of Lushan" artistically and technically, but the main creative group has experienced the above confusion more deeply in the creation.
Everyone wants to inspire people's closeness and love for "industrial civilization" by passing on a touch.
"A robotic arm stretched for hundreds of meters, it seems like the arm raised by the Chinese, telling the world that this is China, I am still very moved." Yang Shuo, the actor of the actor Wei Cheng, has a deep sense of "substitute". Trying to "express my anxiety" more, he believes that "China's manufacturing industry can still be better, and it can cultivate more excellent engineers and workers with technical content and knowledge reserves."
The rise of equipment manufacturing industry in Changsha is a microcosm of Chinese industry, entrepreneurs and workers meeting the opportunities and challenges of the new industrial revolution.
Through the sincere entry of "Song of Lushan", Mao Weining and other main creative teams said that they have touched a period of industrial "entrepreneurship history" and "spiritual history".
Even the actors who have been deeply involved in the play also sighed that in Changsha, "In this city, everyone is like a sunflower chasing the sun, and so are the workers."
The long-lost industrial spirit has resonated with the public psychology, empathy has occurred, and many audiences have found a strong emotional resonance in the modern industrial aesthetics and social fireworks.
At the end of the film, with the voices of the protagonists calling for "Master", model workers, craftsmen and skill masters from great powers, including Ai Aiguo, winner of the "July 1st Medal", appeared one after another.
This almost straightforward "lyrical" was even accepted and praised by the audience for "walking the heart".
Industry is hot
Art is never inseparable from life.
Screenwriter Wang Chenggang has always held a "critical spirit" in his creation, and firmly believes that industry, factories and workers should be an inseparable and important part of public life and life in the past, present and future.
"In our parents' generation, workers are very respected by society..." It is difficult to see a blue-collar worker as the protagonist in a film or television drama, which made Wang Chenggang keenly and profoundly point out, "The reason why the towering tree flourishes is the root. The roots of industry are workers, and workers are not respected, and industry has no roots.”
It is very likely that this sentence will not only be the underlying logic of the "industrial drama", but also a "key" worthy of in-depth reflection on the deep-seated problems of economic and social development from all walks of life.
The Chinese industrial spirit nurtured and accumulated by decades of reform and opening up is deeply integrated with the personal destiny and the rise and fall of enterprises, a trait called "sense of destiny" that is keenly captured by the main creators.
"Song of Lushan" strives to convey this "sense of destiny". For example, many actors have touched the so-called "sense of mission", "sense of responsibility" and even in face-to-face exchanges with top entrepreneurs, engineers and skilled workers in world-class equipment manufacturing factories. "Family Feelings".
"Industry is not only warm, but also romantic." Yang Shuo described that in the shooting scene of the intelligent factory, two machines, one of which was full of cameras, looked at a steel plate repeatedly, hung it up, and put it back. He felt very romantic.
"That kind of gaze is like a couple, so focused." He further captured the emotional interaction of "man and machine" in the industrial scene - the first shot of the 81-meter boom pump truck, "When it rises, (with When I looked at each other, I burst into tears."
The soulful gaze of man and machine is nothing less than a "poetic" discovery by the creator of "Song of Lushan".
The background of industrial civilization and industrial spirit is actually in this kind of affectionate and sincere gaze, and the "industrial theme" artistic creation based on this will inevitably be full of vividness and richness.
The interview with Mao Weining revolved around "Kung Fu is outside the play".
The reporter noticed that "Song of Lushan" artistically contributed "insights" to the observation of the transformation and upgrading of industries, factories and workers in the era of the new machine revolution: intelligent upgrading is far more than technological upgrading. Do not hesitate to spend time and cost "waiting" for the qualitative change after employees grow up.
Fang Dafeng Wang Xin