编剧生态面面观:边缘化与风险机制

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2016年IP依然沿袭之前的火热状态登陆各大媒体院线。《诛仙青云志》《仙剑五云之凡》《微微一笑很倾城》《老九门》《麻雀》等等,一众观众追捧的IP改编一边由亚文化逐渐从幕后走到台前成为当下主流影视剧;一边成为各大主流网络媒体、电影媒体收入的法宝。然而,好的点击量、收视率无法掩盖其质量上的危机,诸如情节拖沓、特效敷衍、台词不考究等问题成为了观众茶余饭后的谈资。作为商品化的影视作品制片方/导演拥有绝对的领导权,其他各个技术部门(包括编剧) In 2016, IP still landed in major media cinemas in line with the pre-hot state. “Zhu Xian Qing Yun Chi,” Legend of the Five Swordsman “smile” is Allure, “” Lao Jiamen “,” Sparrow "and so on, a sought after by all the public IP adaptation from the sub-culture gradually come from behind the scenes to become the mainstream Film and television drama; while becoming the major mainstream online media, movie media income magic. However, good hits, ratings can not hide its quality crisis, such as plot procrastination, perfunctory effects, lines are not elegant and other issues became the audience after dinner talk. As a commercial film and television producers / directors have absolute leadership, and other technical departments (including screenwriter)
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