Filling the gap in financial construction in revolutionary historical dramas, "The Fire of the Road" focuses on the economic development of the Chinese Soviet Union

When the creation of major revolutionary historical themes has reached peaks, how can similar themes be continued? When all the major events, important figures, and important periods in the history of the Chinese revolution have been basically restored on film and television, how can we find the gaps in history? The major revolutionary historical TV series "The Fire of the Road" was broadcast on the occasion of commemorating the 130th anniversary of the birth of Comrade Mao Zedong. It presented for the first time a picture of the economic construction of the Chinese Soviet Republic. This is a period of history that is rarely shown in TV series. A seminar on the play was held in Beijing on the 25th.

"The Fire of the Road" selects the historical period from the establishment of the Soviet regime in China in 1931 to the Zunyi Conference in 1935. It focuses on land, finance, economy, legal system, education, medical care, culture and other aspects to show the story of Comrade Mao Zedong as the representative. The glorious journey of the older generation of revolutionaries exploring the path of governance in the Central Soviet Area revealed the historical inevitability of the Chinese Communist Party’s victory in the revolution and the establishment of New China. At the same time, it depicts the various aspects of life of the people in the Central Soviet Area, vividly portrays a group of small characters represented by Grandma Xu, shows the twists and turns of personal destiny in historical storms, sees people and events, and reflects the spirit, which resonates with the audience.

Song Yeming, the director of the drama, said that among the major revolutionary historical dramas he filmed, the only blank space was the three-year history of the Soviet Republic of China. In the creation of this play, he chose the period when the provisional central government was established, highlighted the main line of economic construction, and depicted the Soviet area spirit of the older generation of proletarian revolutionaries such as Mao Zedong who put the people at the center and sought happiness for the people. During these three years of political practice, Comrade Mao Zedong went deep into the masses of the people, adhered to the truth, dared to fight, and worked hard to find a correct path for the liberation of the Chinese people. In order to break through the creation of major themes in the past, he strengthened the creation of characters in this play, focusing on the main characters who dominated this period of history, and deeply explored the relationships between the characters and their own expressions. Through the changes in the character's mental journey, the changes in that period of history are shown.

Hou Jingjian, who plays Mao Zedong in the drama, shared that the drama was chosen to be filmed at the original historical location in Jiangxi Province, which was of great help to the performance and production of red themes. The atmosphere and aura of the original filming made the actors instantly integrate into that era, and they burst out with passion and power. At the same time, the people of Jiangxi carry a strong red inheritance gene, which made him baptized. "Only when the mind is calm and the energy is calm can we take pictures of great figures."

Zhao Xiaobo, head of the TV drama project department of the CCTV Film and Television Drama Documentary Center, said that the two main contradictions shown in the drama were rarely shown in previous revolutionary historical dramas. The first contradiction is economic difficulties, which was the main contradiction when the Chinese Soviet Republic was founded. This drama vividly describes how the Soviet area government headed by Mao Zedong governed the country amid hardships and hardships, and meticulously describes the red finance and red economy that are unfamiliar to the audience. The second contradiction is the contradiction between the military revolutionary struggle line. For the first time, the play comprehensively describes the line struggle between the Soviet Area Executive Party Central Committee and the top leaders of the Red Army, revealing the growing pains of the young Communist Party of China and the Workers' and Peasants' Red Army. The Communist Party of China gradually grows and matures in the struggle against the enemy and the inner-party line. It is forged into steel and defeated the enemy. The creation of "The Fire of the Road" implies such a profound understanding.

She said that "The Fire of the Road" adopts a dual-line narrative. On one side, it is the fierce game of the military struggle route, and on the other side, it is the exploration and practice of the red financial system and state governance. The two clues rely on each other and contain each other. They interweave the narrative. It shows the ups and downs and magnificent history of the Soviet area in multiple dimensions. At the same time, the combination of grand narrative and ground-breaking fireworks not only expresses the style of a great man, but also injects a delicate emotional life.

Li Jingsheng, vice president of the China Broadcasting Federation, said that the success of "The Fire" tells us that the artistic resource of revolutionary historical themes still has endless charm in film and television creation. We need not only grand narratives, but also fine, in-depth, and more specific expressions to provide a more artistic presentation of the spirit, emotions, and inner feelings of the historical figures of that era and revolution.

Huang Rujun, former director of the Scientific Research Management Department of the Party History Research Office of the Central Committee, said that "The Great Path" has gone from expressing grand history to reflecting history through characters, personalities, and stories. This is a progress and will also be a new step in the creation of major revolutionary historical themes. direction. He also put forward constructive opinions and suggestions on the relationship between the real and artistic representation of the major events in the play, as well as the details involved.

Zhong Chengxiang, a librarian at the Central Research Institute of Literature and History and a well-known literary critic, said that art is about people, and art is ultimately a study of humanity. It must have an attitude of cultural consciousness and cultural confidence, focusing on the spiritual trajectory and thinking of the characters. Development and character development are what stand up. "Taking people to lead things is the first aesthetic step that must be climbed after many years of creation of major revolutionary historical themes."