Since Korean dramas were introduced to China, domestic dramas have also been tainted with "kimchi flavor". The Temptation of Going Home is a remake of The Temptation of My Wife. I accidentally fell in love with you is based on The Love of Life and Death in Blue. My family is happy and adapted from The Rumored Seven Princesses. Falling in love with the anchorwoman can be called the China version of The Temptation of Eve. This year’s hit The Gorgeous Family has exactly the same plot as Project Runway.
Chen Shuo, producer of Gorgeous Family and vice president of Xiangchao International:Compared with American TV dramas and Japanese TV dramas, it is much easier to buy scripts from Korean TV dramas. It took a whole year before and after the introduction of the script of the Japanese drama Son-in-law, because it needed to be confirmed by writers, TV stations, artists and artists’ agencies, but the introduction of Korean dramas was different. It took two weeks at the earliest, and the contract was usually two or three pages, with little requirements from the other party.
Producer Jin ouChina has entered the start-up period of cultural consumption, but the supply of excellent film and television works is still poor, which cannot meet the needs of the audience. Compared with Korean dramas, the investment in domestic TV dramas is not weak. However, creators often succumb to investors and follow suit, so film and television drama production cannot form a standardized industrial chain. Excellent film and television works need policies, creators and audiences to jointly create a suitable soil and climate. Professional creators and a mature audience market are essential.
Yang Lei, Associate Professor of Korean Language Department in beijing international studies university:Korean dramas have entered the China market for 20 years, and the craze has never subsided. After 20 years, few works in the local cultural industry can compete with it, but the influence of Korean dramas on consumers in China has penetrated into real life, which has led to the phenomenon of chasing dramas and idolize to chasing consumption and culture.
Drama critic sleeve hand:There are a large number of housewives in South Korea, and the dreaminess of idol dramas can best arouse the resonance of this group. However, the situation in China is different. Most women work, and married women are more willing to pay attention to life-related TV dramas. Therefore, life dramas such as The Story of Hot Mom are the mainstream of domestic audiences. The mainstream orientation of the audience, combined with the separation of domestic production and broadcasting and the influence of the audience’s exclusive viewing theory, leaves little room for idol dramas, a "vulnerable group". Small-cost, third-line actor configuration, it is inevitable that the cottage will appear. This also explains why Gao Yuanyuan, Yao Chen and other first-line movie café s return to the screen to shoot family life themes, and the best resources, talents and equipment are also firmly occupied by life dramas.
Famous screenwriter Yu Zheng:For example, Empresses in the Palace and Let’s Get Married can resonate with the audience both on the Internet and on TV. Don’t think that one or two Korean TV dramas have caused a sensation in China, just because domestic TV dramas are not as good as South Korea. In fact, the export of mainland TV dramas is not worse than that of South Korea, but we haven’t made any publicity. I often go abroad and see them show the legendary swordsman. Moreover, many mainland TV dramas caused a sensation abroad, and we didn’t know it until later, and we didn’t do publicity when we knew it. Unlike South Korea, where there was a slight response in China, their director came to China with actors. Since there are only three mainstream TV stations in Korea, there is great competition pressure and the elimination rate is also very fast. The drama was quickly replaced by a new mechanism, which forced Korean TV people to constantly produce new things. This is also the reason why Korean dramas have made great breakthroughs in theme in recent years. At present, there are still many restrictions on theme in China, such as commercial involvement and revenge. Compared with South Korea, the industrial structure is not reasonable enough, and the audience-only theory has also led domestic producers to be keen on repeating the same theme.
Compared with the idol dramas of neighboring countries, the idols in our idol dramas are really shameful.
■ Turn on the TV in the Spring Festival, and Cai Ming, Fan Ming, Zhao Benshan and Liu Xiaoqing rule the screen;
■ Guo Tao and Mei Ting, who are a little younger, are playing the role of their youth;
■ Wang Zhiwen, who is about to take over, and Zhang Jiayi and Sun Honglei, who have won the industry in recent years;
■ Looking around, there are only a handful of fashionable and beautiful youth idol dramas.
China Economic Net Xiaobian has something to say:Most of our young actors can only "run their teeth" in the drama of God. I don’t know if the competition is too fierce and there is no chance to replace those familiar faces, or because the competition is too lax, four plays a year can still earn a lot of money, and there is no need to worry or experience the role. According to industry insiders, if time and funds are available, mainland directors may also shoot works such as "Stars". Just, will the same works be accepted by the audience when they are moved to China?