Generally speaking, due to the limitation of film duration, to tell a story clearly in an hour or two and reflect the ideological value and artistic techniques, it requires that the information content of the film is much greater than that of the TV series. Even popcorn movies or excellent works, its lines are carefully designed and polished. Try not to talk nonsense and add useless lenses or water. TV series, even many excellent commercial dramas, skipping an episode and a half will not affect the continued watching. Skip this part and guess what I said. This is the requirement of TV series-let the new audience keep up. But the Ming dynasty used the volume of TV plays to compress the information of movies. This will not only bring "brain burning" pleasure to the audience, but also bring fatigue.
At the same time, due to the theme, this kind of "brain burning" will make the audience uncomfortable and difficult to digest. At the same time, due to the theme, this kind of "brain burning" will make the audience uncomfortable and difficult to digest. Suspense topics such as "Hidden Corner", "Chasing the Murder in a White Night" or the movie "Cruise of Terror" are mature. That is, the audience can understand the plot of the lines and quickly grasp the development of the situation. The "brain-burning" place is a trick, a reversed setting, which will make the audience feel involved, just like the assistant next to the detective. The "brain burning" in the Ming Dynasty has no inherent business routine, and the audience is not familiar with it. This has given an appreciation step, or threshold, from the beginning. Moreover, the brain burn felt by the audience is all-round, and the lines, plots, characters' psychology and behavioral logic are completely unfamiliar. Sometimes, there is even a feeling of being there. The characters in TV plays are teaching the audience how to understand the language, behavior, motivation and results of themselves and others.
The exquisiteness of the Ming Dynasty is also like a masterpiece that can be read repeatedly. The creator carefully shaped the thoughts and spirits of the characters and described their growth and changes. Without deep thinking, it is easy to "get" and not understand the characters. For example, there is an answer to this question, saying that Harry is not for the people, but for the name. Pursuing the ultimate "name" of Confucianism only benefits the interests of the people in the process of pursuing it.
If I analyze the growth and changes of Harry in the play, I will naturally think that this judgment is illogical. Harry himself repented. After teaching in Nanping, he went back to his hometown to serve his mother. At his level, he has never been in contact with kings and princes at all, and has the simplest and natural love for your father. Have a simple sense of protection for the people. However, after being involved in the political turmoil, in the process of interrogating Zheng He again and again, he asked, "Does your father know?" He realized step by step that the sin of the Ming Dynasty was so deep that the most harmful thing in this world was not corrupt officials and treacherous court officials, but kings who ruled the world with domestic slaves.
It can be said that Harry is the most important character in the play, who is undergoing ideological transformation and deepening. He is even a copy of our readers. Together with our readers, we once simply thought that the world was troubled by strict party. As long as the party was strict, we could set things right and restore Langlang Gankun until we realized that the emperor was the root of the problem. It completed the fragmentation and reconstruction of cognition with the audience, and finally became a real sword.
But this sword can only be a rusty knife in the end. People can't pull their hair and lift themselves up. As the biggest vested interest, the emperor has no motivation and consciousness to depose himself. Ideals are just ideals after all. So the audience was disappointed in Harry. Even before the failure, Harry and I listened to Jiajing's theory of the Yangtze River and the Yellow River together, learned another lesson and doubted ourselves again.
The behavioral logic under the guidance of this series of ideological shocks cannot be explained by "naming". It is difficult for the audience to see such a person with profound romantic spirit pursuit and realistic political appeal on TV. Well-made TV dramas, such as Nirvana in Fire and Queen of the Palace, are commercial after all. Their plot is exquisite, but the characters' thoughts are not very profound. Whether the audience can easily understand the behaviors and thoughts of these characters.
However, the characters in the Ming Dynasty were too clever in their behavior, so their hidden thoughts were too intriguing. The whole work is like a masterpiece. If you look through it from time to time and read it carefully, there will always be some new insights.