On Contemporary TV Series In "bitterness" Subject In The Context Of Popular Culture

For the past few years, standing firmly in the camp of mass culture of contemporaryChinese TV bitterness plays have made a great success. At the same time, it is not difficult to see,in such high ratings, the writers simply play mode copies, make bitterness plays a fixed thememode, and bitterness plays are excessively consumed. In view of current popular culture ofcontemporary Chinese TV bitterness plays what has taken the audience position, and how to setcharacters and plots in order to catch the audience watching, and do the high ratings mean highquality drama art quality? This article tries to hit on the current screen through the bitterness ofthe characters in the play, plot structure, and convey the culture of caring for analysis, and I wishto convey some enlightenment for the current shortage in subject matter, patterns, the plight ofdomestic drama.This article includes three sections: the introductory remarks, the main text (divides intofour chapters) and conclusion.The introductory remarks the definition of the subject of this article and the relatedtheoretical concepts, explains the study of the contemporary TV series "bitterness plays" andfinally points out the idea of writing this article.The first chapter discusses“bitterness play”, the source of the theory and the establishment,the popular of the contemporary soap opera“bitterness play”as well as the difference and therelation between“bitterness play”with the Chinese tradition drama tragedy. The word of“bitterness play”origins long time, But this paper discussed contemporary drama plight of theplay refers to " break a bitter , broken families, broken feelings, broken marriages and familiessuffering as the theme soap opera type; The contemporary television bitterness play and theChinese tradition drama tragedy belong to“vulgarly”a cultural row.The second chapter discusses the audience orientation of contemporary Chinese TVbitterness plays. Taking into account of the drive of commercial interest in the context of popularculture and the psychological needs of audience in a modern society with growing stress due tothe increasingly intense social competition and gradually cooling human relationships, bitternessplays orients its audience group to senior citizens, housewives over 35 years old of lower incomeand less education, as well as audience from other age, sex or education groups who resonatewith some plots of the bitterness plays while watching it. The third chapter points out the stereotype of the way of writing and character creating ofcontemporary Chinese TV bitterness plays. The mechanical duplication of bitterness plays in theepidemic of consumerism leads to stereotype of the character, role orientation, character relation,stereotype of scenario plight, event, moral preaching, as well as stereotype of happy ending. Thecharacters of contemporary Chinese TV bitterness plays are extremely flat, with the positivecharacters shaped by imposing sufferings on them in order to achieve high audience rating bycatering to the psychology of the audience. To create characters of Chinese traditional moralexcellence doesn’t interest the scriptwriters anymore. What concerns them more is to satisfy theaudience and release their stress and emotions by imposing a series of sufferings on thecharacters. The negative characters are shaped by greatly amplifying their repulsive sides in theearly stage and a sudden transformation of the negative character in the later stage to meet thefinal happy ending. As a result, distorting the characters subjectively by fabricating factsdivorced from reality deprives the characters of vitality and the drama of artistry.The fourth chapter, the way of the bitterness play’s creation has been into the plight of the"mode", too much coincidence in the characters relationship settings, and emotional point.Traditional ethics of the moral point of taste, making the plight of real drama and art contrary tothe pursuit of aesthetic value -oriented aspects of the current popular culture plays an extremelybad role. Hope that the bitterness plays do the conversion from the "plight" to the "truth",become a new concept of family ethics drama. At the same time, we should enhance theresponsibility of artist, make the bitterness plays become the true transmission humanitiesconcern.This article conclusion points out that the drawbacks of bitterness plays have revealed moreand more. It is no doubt that mechanization copy of the bitterness plays also make its oldaudience feel fatigued. The bitterness plays of the creators should abandon the drawbacks of thebitterness plays, make it more realistic, the originality and novelty, convey the humane care, theart of social responsibility, I believe the prospects of the bitterness plays will be broader.