In the 1990s, Beijing operas were frequently produced, which indirectly produced Chinese New Year films.

In the 1990s, Beijing operas were frequently produced, which indirectly produced Chinese New Year films.
Peiping and Beijing highlight their personalities with lip service. In the early spring of 1992, the world ‘s largest McDonald ‘s opened in Beijing. The representative of Western urban culture received more than 40,000 customers that day.The taste of time is complex, extending from the sense of taste to the psychology, the traditional lifestyle is being rewritten, people come from their families to welcome the changes that are happening in these cities, and will happen.This year, two TV series about Beijing provided an annotation for this social psychology.The first is “The Story of the Editorial Department”.The writer Wang Shuo is the first screenwriter of this TV series. His iconic language style is perfectly presented in the script, ridiculing old-fashioned slogans, and expressing emotions with stern words, which has become a feature of Beijing dramas and a part of realism.The use of language to highlight regional attributes and typical individuality may not be entirely due to the real needs of creation, but there is also a rebellion against collectivism, even if it is subconscious.A notable feature of the 1990s was that various trends emerged endlessly. People showed different expectations and choices in life. The long-term collective character was decomposed by multiple transformations, and the personality began to be allowed, like a profound appeal of the times.Of course, it is not enough to look forward to the future. What is also worth discussing with the establishment of a new life is how the tradition of old Beijing continues in modern life.The “Empire City Gener” broadcast in the same year completed the solution to this problem.”Empire City Roots” is produced by the Beijing TV Art Center just like “The Story of the Editorial Department”.If these two episodes take place in the same era, but point to the opposite TV series to be connected together, it is easy to find someone’s complex and deep feelings for the city, which is a romance composed of Beijing and Peiping.”Emperor City Gener” was written by Chen Jiangong, another Beijing-style writer at the time. Chen Jiangong has always been famous for his beautiful and nostalgic Beijing story.If the story of the editorial department looks at life from a younger perspective, then “Emperor City Gener” uses a more ancient logic to greet reality.This is an aspect that is easily overlooked, and its influence proves that the response of “The Imperial City” was far worse than that of “The Story of the Editorial Department” at that time.Its biggest contribution is the launch of Wang Zhiwen and Xu Qing, a couple of screens.Starting from “The Imperial City”, Wang Zhiwen, who was born in Shanghai, played the role of Beijing youth for a long time. In 1994 and 1995, he successively played the TV series “Over Addiction” and “East Sunrise West” directed by Zhao Baogang.Rain is the leading actor.The two roles of dialect and Lu Jianping made him one of the young idols of the time. Jackets, jeans and draft beer were the standard of his works in that period, and also a model for young men and women to follow.”Over addiction” was originally established by the Beijing TV Art Center. After finishing the pre-script, it was stopped internally. A leader questioned Zheng Xiaolong, who was the deputy director of the creation center, why did we shoot such a man!In Zheng Xiaolong’s impression, this sentence determines the fate of “Over Addiction” in the unit.After the completion of the movie “The Story of the Editorial Department”, it was reviewed by many relevant persons in charge, and the criticism was mixed. The voice of criticism was mainly concentrated on the role. Some people thought that there could be such a person in the editorial department?Because of the inability to unify opinions, “The Story of the Editorial Department” could not be broadcast for a year.In the end, some supervisors led the script to affirm that the relevant cultural departments only let the green light pass.”Over-addiction” also experienced twists and turns, but after the broadcast, starring Wang Zhiwen and Jiang Shan were both spotlighted.The “Sunrise in the East and Rain in the West” aired the following year, further consolidating Wang Zhiwen’s screen, and became a personality student with both fireworks and literary sense.Wang Zhiwen plays a pottery artist Lu Jianping in the script. When he encounters the complicated Xu Qing, this pure love story seems to be slightly pretentious, but the sideline of this drama is still being discussed by today’s audience. Wang Zhiwen, played by actor Guo Donglin, is small,, originally a role to set off the protagonist’s halo, but under the current standards, can be considered the first generation of “screen warm men”.It was 1995, when contemporary art had just begun to sprout in the market. The establishment of the identity of Wang Zhiwen and Xu Qing as a protagonist subtly predicted the relationship between capital and contemporary art.”The Story of the Editorial Department” has a fictitious editorial department in the old-style government building in Beijing. By presenting its daily work, it will become a national audience and become a reader of the editorial department.Although it is a fiction, it is intended to be a reality. The characters shown in the TV series, from poets and singers to speculative merchants and art scammers, have all appeared in the wave of reform and opening up. They are the most prominent representatives of that era, butSome people are most impressed by the lines of the actor Jingqijingyun in the play.”Empire City Gener” tells a traditional Chinese medicine family facing the ever-changing social changes, encountering the impact of ethics and concepts, the continuation of blood, and the inheritance of skills, which triggered the contradiction and reflection of this three-generation family.”Over addiction” is a representative work of Wang Shuo’s novels. The theme uses current hot words to discuss the influence of the original family on intimacy.Du Mei, an emotionally paranoid female nurse, met a staff dialect with quite a woman’s fate. The two fell in love, married, and then divorced, and combined, breaking the love pattern of Lang Cai’s female appearance, and most of them boldly showed the intimate relationship.Fragile and twisted.Possession and possession, love and being loved, in addition to the standard answer, have new explanations.To put it simply, the love expressed in “Over Addiction” was also not so popular at the time, but also had not too many imperfections.It’s like the lyrics in the ending song “Love in a Confusion”, “Love is a little bit clear, and still a little bit muddled and confused”.The market economy is also reflected in the television industry Zhao Baogang completed the triple jump of directorship in the early 1990s.He participated in the live broadcast of “Desire” and became a co-director in “The Story of the Editorial Department”. He subsequently directed “The Imperial City”, “Over Addiction” and “East Sunrise and West Rain” by him independently.Wang Zhiwen, who has collaborated in three dramas in a row, was previously used by Zhao Baogang’s actor.At that time, there was another actor who could also be called a royal, but his role was usually not much and was often ignored.He is Li Chengru.Li Chengru’s highest personal role is to play a mental patient in Feng Xiaogang’s “Big Arms”. The line of speech in one minute and a half is a monologue in the end, which has become a surprise in the film and has been proved by his acting skills.He is a classmate of Zhao Baogang’s advanced study class at Beijing Film Academy. When Zhao Baogang filmed a TV series, he had already gone to sea to do business and become a new wealthy class in society.His debut in the actor’s career was played as a liar businessman Jia Hebi in “The Story of the Editorial Department”, and then became a “rich businessman” professional in “Over Addiction” and “East Sunrise and West Rain”-his real lifeRoles.Li Chengru is in “Sunrise in the East and Rain in the West”.The businessman was an indispensable character in Beijing TV dramas in the 1990s and a portrayal of social reality (the picture shows Li Chengru’s businessman image in “Sunrise to the East and Rain to the West”).In the early days of the market economy, the initial absurdity and disorder in the business field were gradually corrected. These characters also completed self-upgrading on the screen, and the image became a private enterprise boss from the market broker.Li Chengru once recalled these characters in an interview. When he came to the liar businessman of “The Story of the Editorial Department”, the founder of the crew, Zhao Baogang, found such an actor from Beijing.Zhao Baogang told the creator that people are already bosses, and acting is to come and play.In 1992, Deng Xiaoping delivered a speech on the South Tour, proposing to deepen reforms and accelerate economic construction.The signal to encourage a free market economy was released.The nationwide business and business tide began to strike, and this trend was reflected in the TV series, which also directly affected the development of the TV series industry.When “Hope” was aired in 1990, there were more than 1.06 billion TV sets in households across the country. This number represents the capacity of the market. It is the basis of the industry’s soaring, but it is only the driving force.Deng Xiaoping’s southern tour speech made up for this deficiency.For Zheng Xiaolong, the changes before and after can be proved by the income of the work.The total cost of 40 episodes was 1.02 million when filming “Aspire”, which was popular all over the country after the broadcast, but only 500,000 was sold back; “The Story of the Editorial Department” invested 1.5 million, and it was once again popular throughout the country after the broadcast.In the end, only more than 900,000 were recovered.”There was no market before, and TV series were charged at a fixed manuscript fee of 10 yuan per minute.Zheng Xiaolong said.The arrival of the market is also very sudden.In 1993, Zheng Xiaolong adapted the autobiographical novel “Beijing in New York” by Cao Guilin, a businessman in the United States. Because the domestic scene was not up to the standard, the story was decided to be filmed in the United States, and the budget increased accordingly.Applying for a loan, the cultural industry at that time had almost no precedent for commercial loans. After several turnovers, the loan amounted to 1.5 million US dollars, and the crew started.At that time, Zheng Xiaolong had the bottom of his mind that various local stations began to have money, the purchase price of the film was in line with the market, and at the same time, advertising had also become a means of profit for TV series.Under the new market rules, “Beijing in New York” has achieved good business returns, paying off loans the next year, and a surplus of 400,000.Zheng Xiaolong added that, when repaying, it has caught up with the reform of foreign exchange merger. When lending, the dollar exchange rate is less than one to six, and when repaying, the exchange rate is nearly one to nine, “even though we still make money.””Beijing in New York” is Zheng Xiaolong’s reflection on the enthusiasm for going abroad. It is a variant of the nation’s business boom. People want to broaden their horizons and desire to complete wealth accumulation quickly. This mentality is a microcosm of changes in the market economy.It was aired in 1993 with “Beijing in New York”, and there is still a TV series “I Love My Family” that still has great influence. Citing the former, it expresses a variety of social phenomena in a more playful manner.Views have also become the pinnacle of Beijing-style comedy.The story of “I Love My Family” happened in Fuyang’s family of “Yangliu Beili”, which contains almost all the attractions and pain points in the society at that time. The spicy humor and tender comfort in it made it a classic beyond the times.The whole nation’s business craze will naturally not be absent in such a drama. Jia Zhixin, played by Liang Tian, is a young man who is determined to toss in the sea of business, but often fails to change his mind. He understands all kinds of new lifestyles, but at home he always looks likeAn untimely loser.Elder Fu Ming listed Jia Zhixin’s “several crimes” in the script, including idleness, serious asset class style, and unknown sources of long-term wealth.Jia Zhixin is a person between the few businessman roles played by Li Chengru. He can neither be a profiteer nor a big man.The closest thing to wealth was the reselling of wire rods. In the end, out of kindness and justice, the opportunity was given to the fellows of Northeast China who had been cheated of money.Jia Zhixin’s shaping is universal. Their ambitions represent Beijing’s vitality and passion. Their success or failure also means Beijing’s complexity and cruelty.Indirectly gave birth to the New Year’s film. Before becoming Uncle Ge, Ge You was the peer or junior in the eyes of most viewers.”The Story of the Editorial Department” made him known to all people.When people meet Ge You on the street, they will call Comrade Dong Bao.In Beijing, Comrade Dongbao is like a buddy, a neighborhood, and even relatives.This was a characteristic of the young characters in the Beijing dramas at that time. They loved to play the poor and tremble, they seemed to have no shape, and they had a heart that was hotter than fire.This is true for Li Dongbao, Jia Zhixin, and the dialect is appropriate.They use self-mockery to deconstruct breakthroughs, which is like a philosophy of life unique to Beijing, so the city life has an intimate temperature.Such characters are all the rage, but through the changes in the market and the emergence of genre films, these original trendy pioneer characters have gradually become classics in TV dramas in a few years.Even during the highlights of these roles, there are still other Beijing youth roles being shaped.In 1994, “Flying Hengfu” starring Chen Peisi is an enhanced version of the hilarious youth, which makes the small people present a kind of absurdity that is difficult to dispel in the context of realism.In 1995, Teng Wenji’s “The Story of Beijing’s Late Autumn” directed a different style of realism. There was no line of gags at all. Under strong plot, emotion was used as the driving force for everything.The young Li Yapeng showed all his selling points in this drama.A few years later, he successfully became a national idol, with an influence no less than that of Wang Zhiwen at that time. “Beijing Deep Autumn Story” is like Li Yapeng’s “Empire of the City”.Li Yapeng is the first group of actors who can be described by idols. The previous actors are more suitable for being summarized by artists or stars.Idol is a comprehensive quality and a symbol of the growing prosperity of the entertainment industry.In 1997, Li Yapeng and Wu Qianlian starred in the “Beijing-Hong Kong Love Line”, and the co-production of the two places gave Hong Kong and Beijing more intersections and dispelled the settings of the Facebook.For a long time before the reunification, Hong Kong people had almost two types of roles in Beijing dramas, celebrities and Hong Kong businessmen. Of course, all this has improved with the approach of the reunification.The return of Hong Kong was one of the coordinate events in the 1990s, so it was endowed with more emotions in 1997. The story of the editorial department had made four sequels at the end of 1996. Li Dongbao and Ge Ling were finally determined in the sequelIn the relationship of love, Sister Niu and Editor-in-Chief Chen also came together.The Hong Kong actor Wan Ziliang suddenly visited the editorial department during the New Year ‘s Eve.He is a real guest, and besides Hong Kong actors, his role has become Ge Ling’s distant cousin, and he is the creator’s straightforward expectation of the relationship between the two places.The director of the four-part sequel was Feng Xiaogang, one of the screenwriters of the original play. This sequel to the family festival, which was customized for the Spring Festival, had a new name at the time-the New Year film, which was later used in many of Feng Xiaogang’s movies.”Party A and Party B” released in 1997 was the beginning of his Chinese New Year sequence. Feng Xiaogang felt at the end of the movie that 1997 passed and I miss it very much.In later days, this famous sense is no longer limited to the year, it is more like a public look back in the period of social transformation, it is a collective lyric of people in the 1990s.Sauna, Yebo Tangbo editor Tong Na proofreading Zhao Lin. For more details, please see the topic >>> Beijing Opera and Children