文张斌

《红楼梦》剧照Stills of Dream of Red Mansions

1958年6月15日，中国播出了第一部电视剧《一口菜饼子》，这离中国电视正式开播仅1个半月。60年来，尤其是改革开放40年来，电视剧在中国人的精神文化生活中扮演了极为重要的角色，同时也成长为当代中国最重要的大众文艺样式和文化产业形态。举凡历史传统、革命风云、改革历程、当代传奇、家国故事等都在电视剧中得到了全面展现。时代和电视剧交光互影，共同构筑起了当代中国波澜壮阔的影像画卷。

破旧立新与经典转换（1978年——1989年）

改革开放是中国社会政治、经济和文化发展方向全方位的变革。作为一种雅俗共赏的大众艺术形式，电视剧敏锐地感受并传达了这一时代之音，同时也迅速从作为政治宣传的单一功能中解放出来，开始展现作为独立艺术样式的特征。改革开放之初，电视机尚未普及，电视剧的拍摄也多以单本剧、中短篇的通俗剧集为主，年产量虽不多但仍然生产出了一批高质量的经典之作。

《蹉跎岁月》《今夜有暴风雪》等“伤痕”与“反思”电视剧，以强烈的批判精神揭露、控诉十年浩劫对人的肉体和精神世界的践踏，呼唤人道主义精神的回归。这类知青题材电视剧虽然以苦难现实为背景，以反思历史为基调，但故事的最终结局却无一例外指向光明、美好的未来，体现了电视剧艺术对于时代发展的共同愿景。而剧中人物与命运对抗的精神成长史，也让电视剧从宏观的历史叙述转向个人视角的摹写。《乔厂长上任记》《女记者的画外音》《新星》《篱笆·女人和狗》等改革题材电视剧反映了改革开放初期大众响应时代社会变革的勇气和热情。这类改革题材剧在新的时代主题中铺设了新型人物关系，拓宽了电视剧的题材内容表达，共同构筑了电视剧作为时代镜像的动态审美意识空间。

1980年，中央电视台播出的9集电视连续剧《敌营十八年》标志着中国第一部电视连续剧的诞生。这预示着中国电视剧迎来了连续剧作为主导艺术形式的创作美学，并在对文学名著的改编中形成了中国电视剧第一个经典化时期，创作出了《四世同堂》《红楼梦》《努尔哈赤》《西游记》《末代皇帝》等彪炳中国电视剧史册的经典作品。这些剧目较好地继承了经典文学作品中的历史底蕴和文化内涵，突破了之前电视剧构建的单一角色形象，通过塑造贾宝玉和林黛玉、努尔哈赤、孙悟空等具有开拓意识与反抗精神的艺术形象，对中华民族优秀的文化传统和价值追求进行了富有艺术性的表达，将普通大众的个人命运与国家民族的历史发展进行了联结，形成了家国叙事的现实主义传统，大幅度提升了电视剧的文化品味与艺术追求，开始与电影分庭抗礼，各擅胜场。

《编辑部的故事》剧照Stills of The Story of the Editorial Department

这一时期国外与港台电视剧《大西洋底来的人》《血疑》《排球女将》《射雕英雄传》《上海滩》等也开始引入大陆，并在大陆引起了观剧热潮，对改变人们的思想观念和更新电视剧的艺术理念形成了一种新的刺激，并在电视剧发展的下一个时期得到了更加充分的体现。

通俗美学与多元类型（1990年——2010年）

进入20世纪90年代，改革开放和市场经济的持续推进带来了大众文化的兴起与蓬勃发展。随着电视成为中国第一传媒，电视剧的大众文化属性也日渐显现。为了满足数量众多的观众日益增长的观剧需求，一批有明确市场目标受众、展现世俗日常生活的电视剧应运而生，由此开启了电视剧从题材到类型的初步探索，并在中国艺术传统和国外类型的借鉴中形成了自身的通俗性美学追求。

以《渴望》为代表的室内剧，用美国的肥皂剧模式嫁接了中国家庭伦理叙事传统，反映了当时的时代氛围与精神需求，一经播出便产生“万人空巷”的效应，剧中的主人公刘慧芳、宋大成等人也成为当时人们街谈巷议的热点。《渴望》的大热不仅让观众领略到通俗剧的艺术感染力，同时也为电视剧形成类型化创作观念与独立的美学意识积累了经验。之后出现的《过把瘾》《贫嘴张大民的幸福生活》《一地鸡毛》《儿女情长》等通俗剧也通过现实生活褶皱的细致呈现与情节性、伦理性的追求，将老百姓的市民生活和传统伦理道德在电视剧中得到典型还原，引发了观众的极大共鸣。《北京人在纽约》则直面当时正在兴起的出国热，聚焦中国海外移民的生存状态，直击了中国人在异国他乡的心路历程和艰难抉择，拉近了国内观众与海外华侨的情感共鸣和文化认同。而《我爱我家》《编辑部的故事》则是利用西方的情景喜剧类型与中国相声、小品艺术进行结合，开启了电视剧新的创作模式和美学范式。

《人民的名义》剧照Stills of In the Name of the People

历史题材剧全面繁荣。《雍正王朝》《康熙王朝》《走向共和》等历史正剧，执着于对历史的艺术还原，形成一种恢弘严肃的叙事风格，并因对帝王和历史参与者的不同艺术刻画引发了声势浩大的论争。随着《戏说慈禧》《戏说乾隆》引进到大陆播出，其对历史人物和故事的大胆处理激发了大陆历史电视剧新的生产，《还珠格格》《康熙微服私访记》《宰相刘罗锅》等“戏说剧”不断涌现。这些电视剧历史基础比较单薄，但充分挖掘了影像艺术的想象性空间去构筑情节。“小燕子”、乾隆、和珅等这些真实的历史人物被重新予以戏剧化，颠覆与解构了长期以来历史剧奉行的“大事不虚，小事不拘”的创作观念，与当时正进入中国的后现代思潮形成了共振。另外，《还珠格格》《西游记》《戏说乾隆》等一批优秀的电视剧成功输出海外，开启了中国电视剧跨国交流的新时期。

在21世纪初，市场经济的繁荣、娱乐文化的深化推动了影视工业的持续发展。中国电视剧无论是产量还是质量都有了显著改善和提高，形成了以谍战剧、医疗剧、职场剧、年代剧、家族剧等为代表的电视剧类型图谱，生产了大批反映时代精神面貌、传递主流价值观的电视剧——《激情燃烧的岁月》《金婚》《王贵与安娜》等家庭编年体伦理剧，刻画了一代人一生的命运变迁与情感走向，展现中国几十年历史发展的时代缩影；《粉红女郎》《奋斗》《我的青春谁做主》等都市青春剧则紧扣时代脉搏，摆脱了“爱情至上”的幻想，在“80后”青年对现实的迷茫、反抗、顺从中管窥社会大众的生存境遇与社会体验，以更富生活质地的影像话语让“80后”一代登上了电视剧艺术的舞台，获得了正名。

电视剧的类型化生产也在不断更新与交融中形成新的艺术表达形式。《亮剑》《历史的天空》通过李云龙、姜大牙等革命者成长经历和性格形象，以及国共两军关系的崭新描写，摆脱了抗战剧僵化的叙事模式。《暗算》则用扑朔迷离的情节，扣人心弦的悬疑设置展现角色人物间的搏斗与制衡，同时视听语言也更新了一般谍战剧的惯用方式，使谍战剧成为电视剧中比较成熟又能不断发展的类型，带动了《潜伏》《悬崖》等剧的连续出现。红色青春/军旅剧《士兵突击》《我的青春在延安》《恰同学少年》等将现代军旅、革命历史纳入当下现实的叙述语境，在现代气质中对人物角色进行了重新定位处理，凸显了革命历史精神与当代军旅风貌的内在传承性与连续感。家族剧《大宅门》《大染坊》《乔家大院》和历史剧《汉武大帝》《大明王朝1566》《大秦帝国》《天下粮仓》同样对家族历史与重大历史事件进行了个性化的书写，形成一种史诗性叙事与生活化书写的良性互动。这种对宏大题材的重新理解与创作，既保证了历史事实的基本真实，也充分利用艺术的想象力使观众产生较强的戏剧参与感。

20世纪90年代大众文化的繁荣为电视剧的发展提供了市场与文化语境，电视剧则回应观众的现实需求，以不断演进的多元化的类型创作描写大众的世俗日常生活和塑造新的艺术形象，同时也在这一过程中形成了电视剧文化的自身面貌。

①《亮剑》海报Poster of Drawing Sword

②《甄嬛传》海报Poster of Biography of Zhenhuan

③《西游记》海报Poster of Journey to the West

④《花千骨》剧照Stills of Hua Qian Bone

媒介融合与故事创新（2010年——2018年）

2010年后，面对崭新的社会互联生态和崛起的网络文化，电视剧也在与网络剧的融合对话中展现出新时代中国故事的时代想象与文化共融。

媒介融合不但开启了新的产业发展空间，也给中国电视剧带来新的题材内容与叙事类型。以《宫》《步步惊心》等为代表的穿越剧，通过主人公穿越不同时空所形成的叙事套路，打破了以往电视剧时空简单统一的特点，“带领”观众进入多元混杂的时空体验新的故事情景。《仙剑奇侠传》《花千骨》《古剑奇谭》等电视剧实现了游戏与电视剧的跨界互动，形成了富有新武侠气质的美学形态，但在市场和资本的裹挟下，后期出现的《择天记》《诛仙》等IP玄幻剧也存在人物形象千篇一律，叙事结构混乱僵化，故事逻辑荒诞离奇的问题，玄幻剧的类型能量在迅速耗散。

相较于穿越剧、玄幻剧等带有后现代气息的电视剧，这一时期现实题材则更加丰富多彩。年代剧《父母爱情》《生逢灿烂的日子》《情满四合院》《鸡毛飞上天》等依靠不同时代的生活故事，在现实主义美学描绘的粗粝人生之上，也饱含着浪漫主义美学的精神导向，剧中的主人公多以乐观、洒脱的通达态度面对生活之困惑。与年代剧呈现的现实遥相呼应的是都市伦理剧。与前几年《双面胶》《裸婚时代》《金太郎的幸福生活》等侧重于探讨当代家庭关系中的矛盾冲突不同，《欢乐颂》《我的前半生》深入聚焦了女性独立与身份认同等更加敏锐的社会问题，引发观众的持续关注与解读。《人民的名义》《阳光下的法庭》等反腐剧重回荧屏，掀起了一波追剧热潮。尤其是《人民的名义》以大胆的情节设置与娴熟的视听艺术手段和演员精彩的表演形成合力，引发了不同代际观众参与电视剧带来的话题互动，也在观剧过程中形成了对公共议题的深入讨论。同时，《琅琊榜》《人民的名义》《甄嬛传》等电视剧通过借鉴与创造，将新的影像表达形式与本土故事相结合，形成不同文化间可以分享的“共同价值”与艺术审美方式，使得这些电视剧能在海外进一步传播，从而传递中国的文化价值观和提升中国的文化软实力。

媒介融合带来的另一个重要变化是与网络媒介相伴生的青年文化的异军突起。而电视剧也在网络IP的孵化带动下，形成了主流文化与青年亚文化的联结与转换，许多电视剧都增添了流行文化的审美元素以适应“网生代”观众的审美需求。《余罪》《白夜追凶》采用欧美严谨的探案逻辑，以高强度的情节与烧脑的剧情讲述中国本土化的犯罪故事，刷新了中国犯罪剧的高度。《何以笙箫默》《杉杉来了》《微微一笑很倾城》等IP改编的青春剧与《最好的我们》《致我们单纯的小美好》《你好，旧时光》等网络青春剧，通过不同次元文化之间的穿插与交融，以及对“甜宠”“呆萌”等网络气质的吸纳，实现了青春剧的“再青春化”。《麻雀》《胭脂》《解密》《红蔷薇》等谍战剧，则以“偶像”+“言情”+“历史”的混合模式重新演绎革命时代的幕后英雄事迹，但也存在过度偶像化和缺乏历史真实性的问题。

除此之外，《甄嬛传》《如懿传》《延禧攻略》一直延续着清宫剧多产“现象级”大剧的规律。这类通过网络IP改编的清宫剧虽以正剧为身份标签，实则在消解“正”剧的宏大叙事和经典传统。通过剧中主人公甄嬛、如懿、魏璎珞等女主人公的“成长”与“复仇”的繁复纠葛，虽然形成了强烈的观剧“爽感”，但因过度强调戏剧冲突与强化人物形象的单面性，其艺术性、思想性也在后宫权欲争斗中消失殆尽。

改革开放40年来，中国电视剧一直与时代的脉搏同频共振，应时而动，因时而变，迎时而生，全方位多维度地描绘了改革开放历史进程中多姿多彩的中国故事，以自身丰富深入的思想表达和独立多样的艺术追求，创作出了大批堪称经典的作品。在新的历史时代，中国电视剧应该继续讲好中国故事，成为中国乃至世界观众从中了解和体悟中国精神、中国价值、中国道路的重要途径。

①《西游记》剧照Stills of Journey to the West

②《还珠格格》海报Poster of Huanzhu Princess

③《今夜有暴风雪》海报Poster of Snowstorm Tonight

④《贫嘴张大民的幸福生活》剧照Stills of The Happy Life of ZHANG Damin

⑤《微微一笑很倾城》海报Poster of Beautiful Smiles

On June 15th, 1958, China aired the first TV dramaOne Piece of Cake, only one and a half months after the official launch of China's first television station. In the past 60 years, especially in the 40 years of reform and opening up, TV dramas have played an extremely important role in the spiritual and cultural life of the Chinese people. Meanwhile, they have also grown into the most important popular literary & artistic styles and cultural industry in contemporary China. Subjects concerning all historical traditions, revolutionary trends, process of reforms,contemporary legends, and stories about ordinary families and the country have been fully revealed in TV series. With times and TV dramas interacting with each other, they have built a magnificent image of contemporary China.

Transformation and Classic Conversion (1978 - 1989)

The reform and opening up is an all-round transformation of China's social, political, economic and cultural development direction. As a popular art form of "appealing to both refined and popular tastes", TV drama perceives and conveys the sound of this era, and, at the same time, quickly liberates itself from the single function of political publicity and begins to show its characteristics as an independent art style. At the beginning of the reform and opening up, TV drama have not yet been popularized. The shooting of TV drama was mainly based on a single episode, a short and medium-length popular drama. Although the annual output was not much, it still produced a batch of high-quality classics.

The "scar" and "reflection" TV dramas, such asWasted TimeandSnowstorm Tonightand others have exposed and accused the ten years of catastrophe on the physical and spiritual world of human beings and called for the return of humanitarianism. Although this kind of TV dramas about educated youth is based on the reality of suffering and the history of no-thinking, the final outcome of the story is, without exception, pointing to a bright and beautiful future, reflecting the common vision of TV drama art for the development of the times. The characters' history of spiritual growth in the play against the fate also shifts the TV drama from a macro historical narrative to a personal perspective.Such TV dramasTakeover of Director of Qiao, Voice of Female Reporters, New Star, Fences, Women and Dogsreflect the courage and enthusiasm of the public echoing the changes of times and society in the early days of reform and opening up. This type of reform-themed drama has laid a new type of relationship in the theme of the new era, broadened the expression of the TV drama themes, and jointly constructed the dynamic aesthetic consciousness space of TV drama as the mirror image of the times.

In 1980, the 9-episode TV seriesEight Years in Enemy Campbroadcast by CCTV marked the birth of China's first TV series,indicating that Chinese TV series ushered in the creative aesthetics of the series as the dominant art form, and formed the first classic period of Chinese TV series in the adaptation of the renowned literary classics, and created theFour Generations Together, Dream of Red Mansions and Nurhachi, Journey to the West, The Last Emperorand other classic works enlightening the history of Chinese TV series.These repertoires have better inherited the historical and cultural connotations of classical literary works, and broken through the single-role-image constructed by previous TV series. By shaping the artistic images with pioneering consciousness and rebellious spirit, such as JIA Baoyu and LIN Daiyu, Nurhachi, and Monkey King, the outstanding cultural traditions and value pursuits of the Chinese nation have been artistically expressed, linking the personal destiny of the general public with the historical development of the nation,forming a realistic tradition of the narrative of the home country and greatly enhancing the cultural taste and artistic pursuit of the TV series, marking the beginning of the battle with the film with respective advantages.

During this period, foreign and Hong Kong and Taiwan TV seriesThe Man Come from the Bottom of the Atlantic,Blood Suspect, Volleyball Women, The Legend of the Condor Heroes and Shanghai Beachalso began to be introduced into the mainland, and caused a wave of drama heat around the country, creating a new kind of stimulation to people's ideas and the artistic concept of updating TV series, which have been more comprehensively reflected in the next period of TV drama development.

Popular Aesthetics and Multiple Types (1990-2010)

In the 1990s, the reform and opening up and the continuous advancement of the market economy have brought about the rise and flourish of popular culture. As TV became the top media in China, the popular cultural attributes of TV series are also emerging. In order to meet the growing demand for the drama from a large number of viewers, many TV series with clear market target audiences and revealing secular daily life came into being, which opened up the preliminary exploration of TV series from subject matter to type, and formed its own popular aesthetic pursuit in the Chinese art tradition and reference from foreign peers.

The indoor drama represented byAspirationused the American soap opera mode to graft the Chinese family ethics narrative tradition, reflecting the atmosphere and spiritual needs of the times. Once broadcast, the effect of"incomparable ratings" was generated. The protagonists LIU Huifang, SONG Dacheng and others have also become hot spots for people to talk about at the time. The enthusiasm forAspirationnot only allows the audiences to appreciate the artistic appeal of popular drama, but also accumulates experience in forming stereotypes of creative ideas and independent aesthetics. Later, the popular dramas, such asThe Addiction, The Happy Life of ZHANG Damin, A Mess, Loveand others are also, through the meticulous presentation of real life folds and the pursuit of plot and ethics, typically restoring the life and traditional ethics in TV series and arousing great resonance among the audiences.Beijingers in New Yorkis facing the rising fever of going abroad at the time, focusing on the living conditions of overseas Chinese immigrants, directly attacking the Chinese people's mental journey and hard choices in foreign countries, and bringing closer the emotional resonance and culture of domestic audiences and overseas Chinese. While theI Love My FamilyandThe Story of the Editorial Departmentemploy the Western sitcom type to combine with Chinese comics and short act, opening up a brand-new creative mode and aesthetic paradigm of TV series.

Historical dramas fully prospered. The historical dramas, such asThe Yongzheng Dynasty,Kangxi DynastyandTowards the Republicare obsessed with the artistic restoration of history,forming a grand and serious narrative style, and causing a great momentum controversy due to the different artistic depictions of the emperors and historical participants. With the introduction ofStory of CixiandStory of Qianlongto the mainland, its bold handling of historical figures and stories inspired the new production of mainland historical TV series.Huanzhu Princess,Private Visit by Emperor Kangxi, The Prime Minister LIU Luoguoand others continued to emerge. The historical basis of these TV series is relatively thin, but the imaginary space of video art is fully explored to construct the plot. The real historical figures, such as Little Swallow,Qianlong, and HE Shen have been re-dramaticized, subverting and deconstructing the long-established historical dramas of "adhering to historical facts about big issues, unlimited control for small issues" creation concept, forming resonance with the post-modernization that was entering China at that time. In addition, a number of outstanding TV series, such asHuanzhu Princess, Journey to the WestandStory of Qianlonghave been successfully exported overseas, opening a new era of cross-border exchange of Chinese TV series.

At the beginning of the 21stcentury, the prosperity of the market economy and the deepening of the entertainment culture promoted the continuous development of the film and television industry. Chinese TV series have significantly improved both in terms of output and quality, forming a TV drama map represented by themes concerning spy war,medical conflicts, business arena, chronographs, family and etc., and producing a large number of TV series reflecting the spirit of the times and conveying mainstream values:The Years of Passion Burning, Golden Marriage, WANG Gui and Annaand other family chronological ethics dramas, which have depicted the fate of generations and their emotional trend, showing the epitome of China's decades of historical development. The urban youth dramas, such asPink Girl,Struggle, Who Controls My Youth, closely follow the pulse of the times, get rid of the "supreme love" fantasy, and observe the society of the living conditions and social experience of the public via the "post-80s" youth's confusion, rebellion and obedience to reality, letting the "post-80s" generations step onto the stage of the TV series art and gaining a proper status with a more vivid image of life,.

The typed production of TV series is also constantly evolving and integrating to create new forms of artistic expression.Drawing SwordandSky of Historyhave escaped the narrative mode of the rigid anti-war drama through the growth experience and character image of revolutionaries, such as LI Yunlong and JIANG Daya, as well as the new description of the relationship between the two armies. TheSecret Plotuses the confusing plot and exciting suspense setting to show the struggles and balances between the characters,and the audio-visual language also updates the usual way of the general spy war drama, making it become more mature with continuous development in the TV series. This type has also led to the continuous emergence of dramas,such asHiddenandThe Cliff. The red youth/military dramasSoldier Assault,My Youth in Yan'an,Youthetc., incorporate the modern military/revolutionary history into the current narrative context, and reposition the characters in the modern temperament, highlighting the inner inheritance and continuity of the revolutionary historical spirit and the contemporary military style. The family dramasThe Great Mansion, The Dye House, Qiao Family Courtyardand the historical dramasHanwu Emperor, Great Ming Dynasty 1566,Great Qin EmpireandThe World Granaryalso write about family history and major historical events in a personal manner, forming a benign interaction between epic narrative and life-style writing. This re-understanding and creation of the grand theme not only guarantee the basic truth of historical facts, but also make full use of the imagination of art to make the audience have a strong sense of drama participation.

The prosperity of popular culture in the 1990s provided the market and cultural context for the development of TV series,which have responded to the real needs of the audience, and described the secular daily life of the public and the shaping of new artistic images with the ever-evolving and diversified types. Meanwhile, it has also formed the appearance of the TV series culture in this process.

Media Convergence and Story lnnovation (2010-2018)

After 2010, TV series also shows the imagination and cultural integration of the Chinese story in the new era via the dialogue with the online drama in the face of the brandnew social interconnected ecology and the emerging cyber culture.

Media convergence not only opens up new industrial development space, but also brings new subject matter and narrative types to Chinese TV series. Through the dramas represented byPalace,Step by Stepand the narrative routine formed by the protagonists' travel through different time and space, it breaks the characteristics of the simple unity space of TV series in the past, and "leads" the audience into a multimixed time and space to experience new story scenario. The TV series, such asThe Legend of the Sword and the Chivalrous Man, Hua Qian BoneandLegend of Ancient Swordshave realized the cross-border interaction between the games and the TV series, forming an aesthetic form with a new martial arts temperament, but under the circumstance of market and capital, the later IP fantasy dramas, such asThe Heavenly ManandZhu Xianalso have issues of unchanged character images, the chaotic structure of the narrative, the ridiculous and bizarre question of the story logic, and the energy of the fantasy drama is rapidly dissipated.

Compared with TV series with post-modern flavors, such as time-travel and fantasy dramas, the reality theme is more colorful. The chronologyParents' Love, The Days of Bringing Together, Courtyard with Love, Chicken Flying to Heavenand other life stories relying life stories on different eras,above the rough life depicted by realistic aesthetics, are also full of spiritual orientation of romantic aesthetics, with the protagonists in the drama often facing the confusion of life with an optimistic and free-spirited attitude. Responding to the reality presented by the chronology is the urban ethics drama. In the past few years,Double-sided Adhesive, Naked Marriage Era, JIN Tailang's Happy Lifeand so on focused on the contradictions and conflicts in contemporary family relations,Ode to JoyandMy First Half Lifeattached more attention on women's independence and identity affirmation and other more acute social issues, leading to continuous attention and interpretation by the audiences. Anticorruption dramas, such asIn the Name of PeopleandThe Court in the Sunreturned to the screen and set off a wave of heat. In particular, theIn the Name of Peoplecombining with the skillful audio-visual art means and the wonderful performances of the performers with the bold plot setting has triggered the interaction of different intergenerational audiences' participation, also forming an in-depth discussion of the topic amongst the public in the process of watching the drama. At the same time, TV series such asThe List of Langya, In the Name of peopleandBiography of Zhenhuan,through reference and creation, combines new forms of image expression with local stories to form a "common value" and artistic aesthetics that can be shared amongst different cultures, making them accessible to further overseas spread, thus conveying Chinese cultural values and enhancing China's soft power of culture.

Another important change brought about by media convergence is the emergence of youth culture associated with online media. The TV series is also driven by the incubation of network IP, forming the connection and transformation of mainstream culture and youth subculture.Many TV series have added the aesthetic elements of popular culture to meet the aesthetic needs of theNet Generationaudience.The Remaining SinandWhite Night Pursuituse the rigorous logic of exploration introduced from the West, telling the story of Chinese local criminal stories with high-intensity and brain-burning plots, and refreshing the height of Chinese criminal drama.My Sunshine, Shanshan is Coming, Beautiful Smilesand other IP-edited youth dramas andThe Best of Us,To Our Simple and Beautiful Life, Hello, Old Timeand other online youth dramas, through the interspersed and blended interaction between different dimension cultures, as well as the absorption of network temperament, such as "sweet pet" and "cute", realized the "rejuvenation" of youth drama.The spy war dramas, such asSparrow, Rouge, DecryptionandRed Rosereinterpret the heroic deeds of the revolutionary era with the mixed mode of "idol" + "sentiment" + "history",but there are also problems concerning excessive idolization and lack of historical authenticity.

In addition, dramas such asBiography of Zhenhuan,Biography of RuyiandStory of Yanxi Palacehave continued the law of the "phenometic level" of the Qing Dynasty drama. Although this kind of palace drama, which was adapted through the Internet IP, is labeled as a serious type, it is actually dispelling the grand narrative and classic tradition of the "serious" drama. Through the drama of the female protagonists, Zhenhuan, Ruyi, WEI Yingluo and other heroines' complex entanglements in the "growth"and "revenge", forming a strong "cool feeling" in watching the drama, the dramas over-emphasis on conflict and the character's one-sidedness, its artistic and ideological nature also have been consumed in the battle of the harem.

In the past 40 years of reform and opening up, Chinese TV series have been resonating with the pulse of the times,moving from time to time, changing and welcoming the times, and depicting the colorful Chinese stories in the process of reform and opening up in a multi-dimensional way.Through its in-depth thoughts and independent and diverse artistic pursuits, it has created a large number of classic works. In the new historical era, Chinese TV series should continue to tell the Chinese story and become an important way for Chinese and even the world's audiences to know and understand the Chinese spirit, values and the path.

《欢乐颂》海报Poster of Ode to Joy

《白夜追凶》海报Poster of Day and Night