Mao姐姐還提到陸劇里的一些服裝和妝面也影響了臺灣的時(shí)尚界呢。
Mao noted that the costume and makeup in these hit dramas have also influenced fashion in Taiwan.
"Morandi gray, which is a major color in Story of Yanxi Palace, is still a fashion trend [in Taiwan]," Mao said. "From nail color to everyday wear and wedding photos, people love that style."
比如自從《延禧攻略》火了以后，
莫蘭迪灰色系就成為臺灣時(shí)尚新寵。“從指甲顏色到穿搭的衣服，再到拍攝婚紗都要有那樣的風(fēng)格”。
(圖via Vogue)
Kelly Lee 來自臺北市，目前在英國工作，但這并不妨礙她感受到陸劇在臺灣的風(fēng)靡。
"The first [mainland drama] I watched was Empresses in the Palace, because it aired on Taiwan TV and my family and I could watch it together during our leisure time," Lee said, adding that at the time she was still mainly watching shows from the US, Europe and South Korea.
"In recent years, however, because all the social media platforms are talking about mainland TV dramas, I watch more mainland shows like [modern drama] Here to Heart (2018) and Story of Yanxi Palace."
Lee回憶到，她看的第一部陸劇是《甄嬛傳》，因?yàn)槟菚r(shí)候臺灣電視臺有播出，她于是就在茶余飯后跟家人一起看。不過在當(dāng)時(shí)，她還是更迷歐美劇和韓劇。
近幾年來，她發(fā)現(xiàn)各個(gè)社交媒體平臺都在談?wù)撽憚?，于是自己又被吸引去看了時(shí)裝劇《溫暖和弦》和古裝劇《延禧攻略》。
跟小姐姐們聊完，小編突然想起中學(xué)時(shí)代的某個(gè)寒假，和家里七大姑八大姨一起追看臺灣偶像劇《流星花園》。開學(xué)后，還被學(xué)校老師點(diǎn)名叫出去，以為是談?wù)撆枷駝√嘁慌?，結(jié)果是老師跟我借碟來了……
你還記得道明寺那句經(jīng)典臺詞嗎？
“如果道歉有用的話還要警察干嘛？”
確實(shí)很久沒有看臺灣劇了……那大陸產(chǎn)電視劇到底是為什么能在不知不覺中就趕超了呢？
In an interview with entertainment site dwnews.cn, Taiwan scriptwriter and TV drama director Huang Chih-Hsiang said that besides improving production quality, Chinese mainland TV drama makers have been learning storytelling methods from Hollywood for more than 10 years now, which has contributed to their popularity.
除了大家普遍認(rèn)可的大陸市場發(fā)展越來越好，制作越來越精良等等，臺灣知名編劇、電視導(dǎo)演黃志翔提到了一點(diǎn)——大陸電視劇學(xué)習(xí)好萊塢劇的敘事方法已經(jīng)有十多年了。
"Chinese mainland TV dramas are now good at setting 'watching points,'" he said. "Every four minutes has one 'watching point,' which is a hook that keeps audiences following the story. It can be a big climax or a small clash or something that ignites unconscious emotional sympathy in the viewer."
“陸劇在編排故事的過程中很懂得設(shè)定‘追看點(diǎn)’。平均4分鐘就要有1個(gè)追看點(diǎn)，可能是大的沖突，也可能是小的沖突，或是很幽微的情感事件。”黃志翔在對多維的采訪中說道。
?。ㄐ【幙戳擞X得確實(shí)很有道理呢！怪不得一看起來就剎不住車，原來是被設(shè)局了呀）
同時(shí)，《旺報(bào)》也提到兩岸民眾本就說著一樣的語言，而近幾年兩岸交流密切，喜好也漸漸相近。于此同時(shí)，得益于視頻網(wǎng)站的發(fā)展，臺灣劇友不再需要依賴當(dāng)?shù)仉娨暸_的引進(jìn)，很方便的就可以同步追劇。
The Want Daily article noted that since audiences on both sides of the Taiwan Straits speak the same language, there are no language barriers when it comes to watching dramas. Additionally, since today's young people in Taiwan and the mainland have increasingly similar interests and hobbies, this is causing audience tastes to mingle in both regions.
Accessibility is also a factor. With the rise of internet streaming platforms, it is now more convenient than ever for netizens in Taiwan to view mainland programs.
當(dāng)然，也有一些觀點(diǎn)是覺得這幾年優(yōu)秀的臺灣演員都“流失”去大陸了，這才導(dǎo)致臺灣影視行業(yè)的不景氣加劇。
對此，黃志翔這樣說道：“臺灣人到大陸就是人才流失？那是因?yàn)槟銊澚艘粭l政治的紅線。”
“一個(gè)云林人從鄉(xiāng)下地方到臺北來，跟他從臺北去北京或上海沒有差別。兩岸同文同種，人才流失就只是某種政治語境。”
Huang added that people working in the creative industry, including actors, directors, scriptwriters or makeup artists, they all want their works to be appreciated by more people.
"People from Taiwan can improve themselves in the mainland and bring what they have learned back to their hometown. At the same time, they bring creative ideas to the mainland," he said.
"Through such mutual communication, the two sides… no longer view each other as an outsider, which is better for the development of the TV and film industry in the long run."
黃說道，創(chuàng)意行業(yè)工作，“不論是表演工作者，導(dǎo)演、編劇，抑或是美術(shù)、造型師，他通常都會有某種渴望，希望自己的作品能夠被越多人看到越好。”
“去大陸工作之后習(xí)得一技之長，再把技術(shù)和經(jīng)驗(yàn)帶回臺灣……同樣的，臺灣也有許多獨(dú)特的創(chuàng)意巧思，也可以帶到大陸。我認(rèn)為，通過這種雙向的交流，兩岸在求同存異的同時(shí)，不再把彼此視為他者，這才是影視產(chǎn)業(yè)的長久之計(jì)。”
整合：菠蘿女俠
圖：網(wǎng)絡(luò)
