由瑞典知名广告公司Forsman & Bodenfors操刀的SK-II最新短片《她最后去了相亲角》，近日刷爆各大社交媒体。微信平台阅读量为100000+，具体数目不得而知，但是人气远不止10万，微博点击量达到四百万次，YouTube点击量近140万次，引发热议。广告类媒体也好，非广告类媒体也罢，各大平台都纷纷转载了这则短片。
SK-II’s ‘Marriage Market Takeover’ film, created by highly decorated Swedish agency Forsman & Bodenfors, has so far been a success by all accounts. WeChat doesn’t specify the number of views above 100, 000, but it is surely far higher. The film has been watched four million times on Weibo and almost 1.4 million times on YouTube, sparking impassioned discussion. Both advertising and non-advertising media platforms have picked up the story.
影片所传递的情感扣人心弦，立即引起了人们的情感共鸣：难过、同情、或许还有愤怒。随着点击量的攀升，第一波围绕这则短片的文章多数都在围着这类情感共鸣展开。英文媒体的报道也是如此。但BBC对此事的报道反而有些误导，“中国共产党试图督促单身女性早日结婚，来减缓近期由于二胎政策的引入而导致男女比例失衡的问题。”这是在暗示，这种现象的出现是由政府的政策所导致的。过去的十年中，可能政府确实向女性施加了压力，但是现在父母和子女之间代沟其实是中国根深蒂固的文化价值与现代化的冲突所导致的。
The emotional heartstrings that the film tugs provoke an immediate, visceral response; sadness, sympathy, perhaps anger. As the hit count rose, the first wave of articles largely reflected those sentiments. There was little to distinguish between the English language pieces, except perhaps for the BBC who, by leading with “China’s ruling Communist Party tries to urge single women to marry, to offset a huge gender imbalance caused by the recently ended one-child policy” implied the issue was born out of government policy. It is misleading. The state may have added pressure to these women over the past decade, but the current generational chasm is the result of deep-rooted cultural values clashing with modernity.
最初的强烈反响冷却之后，批评的声音开始涌现。最引人瞩目的要数国内线上广告杂志平台数英网近日发布的文章，该媒体对此事进行的大胆剖析，指出了片子的论调言不由衷。作者顾映映认为，片中的女性根本不能称为女强人，因为真正的女强人根本就不会去在意别人的眼光跟评价。独立自信的真正意义是不需要向任何人道歉。她说，“剩女”也好，已婚女性也好，都没有什么光荣不光荣一说。那些点赞、分享、称赞这部片子的人，就如同他们的父母一样，还活在时代的禁锢下。
Once the initial clamour of praise cooled, critics began to make their voices heard. Most notably, Chinese online advertising magazine Digitaling yesterday published a withering dissection, dismissing the film as disingenuous. Author Gu Yingying believes the women in the film do not come across as strong because truly strong women couldn’t care less about the words or opinions of others. The real meaning of both independence and confidence is feeling you do not owe anyone an apology. There is, she says, nothing ‘honorable’ about being a ‘leftover woman’ in the same way as there is nothing ‘honorable’ about being married. Those that like and share and praise this film, she concludes, are working within the same confines of anachronistic thinking as their parents.
其他批评的声音指出，不断重复“剩女”一说，根本就不会让女性觉得更强大，反而会对她们造成危害，用这样的标签来衡量她们，这场活动虽然引发了全国性的支持，但其实反而减弱了独立的概念。
很多网友批批评片子忽略了剩男，在中国剩男要比剩女多得多，尤其是那些处在社会底层的剩男基本上没什么希望能娶到媳妇。相比之下，起码剩女还有选择。
Other critics have written that, far from empowering women by reclaiming the term ‘Sheng Nu’, the film actually does these women a disservice by repeating it, and measuring their status against a label created by a callous state-backed initiative undermines their supposed independence.
A lot of netizen criticism has focused on the omission of the leftover men, who dramatically outnumber the women in China, with those at the lower end of the social spectrum having practically no hope of finding a bride. At least the sheng nu have a choice.
此外，还有一些网友指出，SK-II提倡让女性肌肤更年轻，这也和他们原本提倡的理念相悖 – 女强人可以保持单身，可以不在意年龄增长，可以顶住这样那样的压力。毫无疑问，似乎片子的言论并不是在强调女权主义。
不论这部片子是否为剩女这样老生常谈的社会问题带来了全新的视角，无疑Forsman & Bodenfors的厉害之处在于，他们重新引发人们的热议。除了增加SK-II的产品销量，这部片子是否还有其他的作用，让我们拭目以待。
Finally, netizens say that SK-II’s suggestion that women should strive for youthful skin undermines the very message that they are supposedly trying to promote – that strong women can withstand the pressures that come with staying single and ageing. It all seems decidedly non-feminist.
Whether this film can bring any new perspectives to an already much talked about social issue is questionable, but Forsman & Bodenfors deserve credit for a powerful film that has reignited the discussion. Whether the campaign improves anything besides SK-II’s sales figures remains to be seen.
主创：
- 广告公司: Forsman & Bodenfors
- 出品公司: Tool of North America
- 制片人: Robert Helphand & Mary Church
- 导演: Floyd Russ
- 摄影师: Jacob Moller
- 后期制作: Cut ‘N’ Run
- 音乐: Victor Magro / Future Perfect Music
- 剪辑: Cut ‘N’ Run
- 执行制作公司: P.I.G. China
Credits：
- Creative Agency: Forsman & Bodenfors
- Production company: Tool of North America
- Producers: Robert Helphand & Mary Church
- Director: Floyd Russ
- D.O.P: Jacob Moller
- Post production: Cut ‘N’ Run
- Music: Victor Magro / Future Perfect Music
- Editor: Cut ‘N’ Run
- Production in China : P.I.G China
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