Domestic film and television companies are opposed to the introduction of foreign TV series.

This involves the issue of market share. The more dramas are introduced, the less market share the domestic TV series will occupy, and the profits of film and television companies will decrease.

Korean dramas have become popular in the country, which has attracted everyone's attention.

However, I am still waiting and watching and I am not paying enough attention.

Lin Zixuan and Zhao Baogang discussed Korean dramas, and is there any way to transplant Korean dramas to China?

As a professional director in urban emotional dramas, Zhao Baogang finds it difficult.

There are cultural differences between the two countries. Some plots may be reasonable in South Korea, but it is difficult to accept them in China, such as lovers becoming brothers and sisters.

The audience feels a sense of distance when watching Korean dramas, and thinks that this is something that happens in other countries and has a high tolerance.

If it is a domestic drama, the screenwriter will be scolded to death, and it may also be considered that this plot is contrary to morality.

It cannot even pass the censorship, so domestic screenwriters are unwilling to involve taboo subjects.

Moreover, Korean dramas have poor logic in screenwriters. They are romantic for the sake of romance and ignore the plot. The story between the prince and Cinderella is staged over and over again.

But this routine caters to the fantasy of young men and women in China for beautiful love.

If domestic dramas cannot do this, they will definitely be criticized, and they will feel that it is illogical and unrealistic at all.

In other words, domestic audiences implement two sets of standards for Korean dramas and domestic dramas.

Because the audience lives in China, not in Korea, they are familiar with the situation in China, and when they see different things from what they think, they think that the screenwriter is making up randomly.

They are not familiar with Korean life, but instead think that the world in Korean dramas is real.

As a result, many young audiences have developed a mentality of advocating South Korea, believing that everything in South Korea is good.

In fact, South Korea's TV drama industry was not developed in the 1980s, and only produced more than a dozen dramas a year.

They first imitated Hong Kong dramas in Hong Kong, and later imitated Japanese idol dramas. In the 1990s, with the strong support of the government, they gradually improved.

The South Korean government has implemented a strategy of promoting the country through culture.

They realized that they had no advantage in competing with China for manufacturing, so they turned to profitable cultural industries.

Especially after the Asian financial crisis in 1997, South Korea's GDP plummeted, and the government focused on expanding the export of cultural products.

In 1998, South Korea established the Cultural Industry Bureau, which specialized in special management and support for cultural industries such as TV and movies, thus paving the way for the industrialization of Korean dramas.

Organizations that promote Korean culture overseas can receive government subsidies of millions of dollars.

As the largest country in Asia, China has a huge audience and is the main target of their attacks.

In a sense, the popularity of Korean dramas in China is the product of carefully planned by the Korean government.

Through the output of Korean dramas and various activities of Korean stars, South Korea seizes huge economic benefits from China every year, and even makes Chinese teenagers have a sense of identity with Korean culture.

Their common method is to provide free playback of TV series first, and then get a high price after it is popular.

As long as the TV series is broadcast abroad, they can get subsidies from the South Korean government without worrying about losing money.

It is precisely because of this kind of temptation that domestic TV stations continue to introduce Korean TV series.

Lin Zixuan proposed to limit the quota for introducing Korean dramas. For example, provincial satellite TV can only broadcast one Korean drama in the prime time every year, and no more than three Korean dramas broadcast in the non-primary time period, etc.

Of course, Korean dramas are not the focus of their discussion this time, that is, to talk about them in general.

After the event, Ouyang Lin came out to entertain the bosses of the film and television company to have dinner at the hotel.

Ouyang Lin is now the deputy director of Xiangnan TV Station, at the level of deputy director, and has made a name for himself in Xiangnan Radio and Television.

This Oriole Festival is a stage for Xiangnan Radio and Television to show its own strength. It can allow the Oriole Festival to be held in southern Hunan, which involves too many interests.

During the meal, everyone was having a chat and laughing.

The relationship between film and television companies and TV stations is relatively complicated. Generally speaking, TV stations are in a strong position, they are the buyer and take the initiative.

But it depends on the specific situation.

If a TV station wants to ensure the ratings, it must have a finale. Premium TV series with reputation are often snatched by many TV stations.

The two sides are in a game relationship, and no one will offend anyone to death, leaving room for doing things.

Taking Haomeng Company as an example, Lin Zixuan’s relationship is in the capital.

The TV series produced by the company are either broadcast on China TV station or on Beijing TV station. The main focus is on the northern market and there is no need to deliberately win over southern TV stations.

During the meal, someone mentioned the Korean TV series that have been popular in the past two years.

"I don't think it's necessary to exaggerate. Introducing Korean TV series can also provide new creative ideas for domestic TV series. Several Korean TV series cannot affect the overall situation." Ouyang Lin defended Korean dramas, "Besides, we have to look at the market now. As long as the TV series that can be recognized by the market are good dramas."

"That depends on the influence. Some teenagers watched Korean TV series and thought that South Korea was better than us. They scolded their country, and they had unrealistic fantasies all day long, and spent money to chase those Korean stars. This impact was very bad." Lin Zixuan disagreed.

"Mr. Lin is worried too much. Just like chasing the stars of Xiangjiang a few years ago, as a teenager, his values ​​are not yet mature, and it will be better in a few years." Ouyang Lin said disapprovingly.

Lin Zixuan did not continue to argue, which was of little significance.

He felt that there was a big difference between the two.

He and Ouyang Lin met in 1992, and we went to Beidaihe to hold a symposium to discuss the direction of China's future TV series creation.

Lin Zixuan later realized that it was that symposium that allowed the General Administration to transform the TV series from artistic to industrialization, thus liberalizing policies and allowing private capital to enter.

At that time, he and Ouyang Lin lived in the same room.

At that time, Ouyang Lin was a flexible and thoughtful person. He had his own insights into the TV industry and was responsible for the production and distribution of TV series under Xiangnan TV.

They later contacted each other and maintained a good relationship.

Now Ouyang Lin is in a high position. As the leader of the TV station, he pays more attention to market and profits.

This is understandable. As long as you are concerned about whether the TV series is profitable or lost, the TV station leaders must consider the jobs of hundreds of people under their jurisdiction.

However, Lin Zixuan felt that Xiangnan TV was a bit impetuous.

If the TV station only values ​​interests, what is the bottom line?

He couldn't help but shake his head and no longer think about it. Life is like this. The friends he could have been able to talk to would gradually become distant due to different ideas.

Maybe no one has changed, but it is this society that has changed.
Chapter completed!