在某种意义上,电视创作本身即是创造世界的一种实验。对于电视文本而言,任何一种真实首先都应当视为一种电视效果,语言效果。既然在电视艺术创作过程中,语言的运作乃是真实的基本结构,那些纷纷坠落到人们内心的原子才能称之为真实,那么,我们看到的这部《穷则思变》所由以构成真实的叙述手段,就显得格外重要了个人仅仅处于历史一隅,仅能在自己时空限界范围之内观察现实,思量历史。我们的眼睛、耳朵、嗅觉、触觉、味觉都不同,因而也各各携带了不尽相同的现实。《穷则思变》的创作者们深谙这种饱含个人眼光的真实。他们毫无戒意地选择了一种朴素的纪实手法,抛却种种高蹈的浪漫想象,还圣为俗,以其日常化的平实的电视画面语言与构成手段,给出了一个为人所熟悉的无须证明的历史故事与话语。没有刻意求工,矫揉造作,平常得 In a sense, TV creation itself is an experiment to create the world. For television texts, any kind of truth should first be regarded as a television effect, language effect. Since the operation of language is a real basic structure in the process of television art creation, the atoms that have fallen into people’s hearts can be called real. Then we can see that this “poor change of mind” consists of The real means of narration is especially important. Individuals are only in the corner of history. They can only observe reality and consider history within the confines of time and space. Our eyes, ears, smell, touch, taste are different, and therefore each carries a different reality. The creators of “poor and changeable” are well versed in this full-fledged reality. They have chosen without any restraint a simple documentary technique to abandon all kinds of romantic imagination and saintly vulgarity and have given rise to a familiar and unnecessary necessity with its routine, flat-screen television language and composition Proof of historical stories and discourse. Did not deliberately seeking work, pretentious, usually too