The public popularity index of female stars who appear in TV series is to some extent proportional to the ratings of TV series, and in the face of homogeneous plots and difficulty in increasing ratings, the use of popular traffic stars can attract the audience's attention and meet the sense of substitution of female audiences. Sun Li, Yang Mi, Zhao Liying, Tang Yan, these popular traffic stars almost all had a big heroine in 2017 (see Table 6 for details), and even many movie actors: Zhou Xun and Tang Wei also returned to the TV series to take over the big heroine, Zhou Xun starring "Ruyi" is one of the most anticipated dramas in 2018, and Tang Wei, who has never acted in a TV series, also dedicated his screen debut to the big heroine drama "Daming Imperial Princess Sun Ruowei", It can be seen that the star's own recognition of the big heroine is very high.
The audience pays attention to big IP, investors make big IP, stars identify with big IP, and in today's market, IP is equivalent to a brand. As long as the producer reaches a consensus with the first-line actresses with the "big heroine" script, it already has a certain competitiveness in the market. Secondly, "big heroine dramas" are usually the target of satellite TV, with high national recognition, and the use of household names is more guaranteed for ratings and attention. And stars also feel that filming copyright dramas can highlight their status, so that the good situation of mutual benefit and win-win cooperation between stars and big heroines gradually arises.
In addition, the big heroine drama also brings a lot of benefits to the stars. The mature costume "big heroine" IP adaptation model can lower the threshold for traffic stars to enter the acting skills, increase their exposure and popularity on the screen, and shoot the big heroine drama into an excellent transformation work. For example, Tang Yan, who has always played the role of silly Bai Tian, successfully transformed into a black strong woman with "Splendid Weiyang", and Jing Tian, who has been half-tepid in the film industry, has accumulated a lot of popularity with "Glory of the Great Tang".
For first-line female stars, taking over such a "hot first" IP drama can meet the needs of its development at all stages, and the popularity of big heroine dramas also makes the salary of female stars rise with the trend, "Taking "The Blooming Moon That Year" as an example, Sun Li starred in the drama for 800,000 yuan per episode, which was 2.7 times higher than the price of 300,000 per episode of "The Legend of Zhen Huan" in 2011. There is no doubt that the big heroine drama will tilt resources to the only heroine to meet her needs for greater than drama addiction, with many scenes and three-dimensional image shaping. "The relative concentration of scenes and conflicts can give the heroine a better space and performance opportunities.
In general, the personal identity and audience image of the star have brought unparalleled improvement and advancement to the big heroine drama.
From the perspective of creation and production, the big heroine drama is so popular, large companies will produce more of this type of drama, the model has successful experience to follow and copy, similar routines make the producer more time-saving and labor-saving, similar plots and bridges, a slight change can give birth to a new drama, why not?
From a market perspective, where there is demand, there will be creation. Cultural scholar Zhang Ning pointed out: "As long as women have needs, there will always be an emotional gap in media communication that needs to be filled. Cultural producers have discerned the secret of this gap, using women's unique emotional methods to turn the medium into a pleasure consumption, the remaining time and residual emotions into surplus value. This remaining time and residual sentiment is abstracted by the manufacturer into a set of data – ratings, which is resold to advertisers."
In terms of post-publicity, production companies also have unique new media marketing skills: in the environment of the traffic era, the current dissemination of film and television dramas is more widely spread through video websites and mobile terminals. Select traffic female celebrities and bright children to carry the banner, use major social media to spread new media, and create relevant hot topics and events in real time to gather popularity and popularity. Taking several popular TV series in 2017 as an example, "Ruyi" starring Zhou Xun has been read as many as 1.04 billion on Sina Weibo, and the topic of "Glory of the Great Tang" starring Jing Tian broadcast at the beginning of the year has been read as high as 3.28 billion. It can be seen that the publicity methods of new media have contributed to the popularity of "big heroine drama".
Big heroine dramas have a wide audience base, according to relevant surveys, the proportion of female audience of TV dramas has reached 69%, and the proportion continues to grow. Therefore, to get the ratings of female audiences, film and television drama works must take into account or cater to the psychological demands of female audiences, emphasizing women's independence and autonomy of the "big heroine drama" to some extent as the spiritual comfort of modern women, many female audiences from the play to find emotions and ideal sustenance, substitute the role identity of the heroine and the characters and plot trend in the play to have emotional resonance, the protagonist's own beautiful and brave aura, counterattack growth life opportunities have moved the psychological pursuit of modern women, Become the direction and popular password they pursue.
Taking the viewership group of "That Year Blossoms" as an example, after the show was broadcast, Baidu Video conducted a big data survey of online viewing users. The survey results show that the female audience of the online viewership group is as high as 80%, and the proportion of women aged 25-34 is the highest. According to the CMS media research, women aged 45-54 account for the highest proportion of TV viewers, up to 69%. Based on this, we can infer a conclusion that although most of the TV and online viewers of "That Year the Flower Bloomed and the Moon Was Full" were women, the age difference was obvious, which was due to certain differences due to differences in cultural interest and social level. For older women, the idea of feminism is both hope and repression, which leads to the general psychological frustration of women, and can only rely on an idealized sex idol - the big heroine.
For young modern women, the popularity of big heroine dramas lies in touching on the dilemma of identity encountered in the growth and transformation of modern women, and provides a set of textbook hypothetical solutions.
The second reason is that women's natural traits make them more likely to talk about gossip and new things, share hobbies and interests, be more likely to be influenced, and be very communicable and infectious. Therefore, female fans of the original work will spontaneously contribute topic traffic to their beloved novel adaptations, share plots and feelings, and the spread and fermentation of the Internet can easily attract other female audiences, and under the influence of publicity and public opinion, the audience will only be wider.
The third reason is that with the rise of women's economic and social status, women have become the largest consumer group in the cultural industry, and a large number of cultural products with women as the main body of consumption have appeared. Women are not only the mainstream viewers of TV programs, but also powerful buyers of various cultural products, and women have experienced a transformation process from "passive" consumers to "active" consumers. Women's economic independence and autonomy, strong consumption power and demand have become a new economic growth point, so cultural products with women's emotional experience and psychological appeal have come one after another. The big heroine drama is one of these cultural products. The clustering of big heroine dramas is the result of the narrow encounter between consumerism and the rise of women.
Big heroines generally portray the legendary life of women "from the cradle to the grave", "The Legend of Wu Meiniang" 82 episodes, "The Legend of Miyue" 81 episodes, the longer feature attracts film and television companies to buy copyrights at all costs, which is conducive to the recovery of investment costs. Quite a few big heroine dramas are the product of mass production. As long as you grab a big IP that is hot before it is broadcast, and then invite popular stars to star, there is a safe guarantee. The producer has no intention of delving into the script and setting up the details, only thinking about how to quickly finish the play and quickly return the book. Following the principle of striking while the iron is hot, after the routine of a certain drama obtains good market feedback, similar works will spring up in the market, and excessive reliance on IP dramas is a dilemma in the TV drama production market at this stage. With such a "fast food" production method, it is inevitable that there will be one "slot drama" after another. The TV series "Lonely Fang Don't Appreciate Yourself", because the starring Yang Ying frequently uses stand-ins and the post-production uses green screen keying, which has caused great controversy.
Throughout the dramas of various David TV, many big dramas have the shadow of video websites behind them, such as "Win the World" Youku has participated, and Tencent Video is one of the producers of "Fu Shao". Li Hao, director of the editor-in-chief office of Hunan Satellite TV, said bluntly: "There is no difference between tradition and new in the media, and the best programs and dramas are the result of the interaction between the two sides, which can expand the influence and benefits of a good drama to the maximum." The purchase of dramas has increased unprecedentedly, and film and television companies have invested more in producing high-quality TV series, and the ultimate benefit is the majority of audiences and netizens. ”
In terms of investment operation, taking "The Blooming Moon That Year" as an example, China TV invested as much as 221 million yuan, of which the actor's salary, script development and marketing expenses alone were as high as 120 million yuan. Tencent Video won the online exclusive broadcasting rights of the drama with 178 million yuan; Oriental Satellite TV and Jiangsu Satellite TV, two Shangxing Satellite TV, won the first-round exclusive broadcasting rights with 56.1 million and 58.69 million respectively. Only three pre-sales have exceeded 290 million yuan, and it is basically certain that the show recovered its cost before filming began. The prosperity of the investment market has attracted more and more capital to gather in the IP acquisition and development chain of the big heroine drama.
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