Recently, the new drama "Beijing Monster" starring Han Suxi has caused controversy in Japan, and has even been boycotted by some Japanese netizens.
This incident has made the drama a hot topic in the cultural exchanges between China and South Korea, and has also sparked a discussion about the sensitivity of historical dramas in international communication.
The story of "Monsters of the Capital City" is set in the Japanese colonial capital (present-day Seoul), and the plot mainly focuses on the story of how humans fight monsters.
However, because the drama involves a sensitive historical period, it has aroused the disgust of Japanese netizens. In response, Han Suxi responded on social platforms, emphasizing that the core of the plot is the confrontation between monsters and humans, rather than the rendering of historical events.
First of all, we can look at this event from the point of view of cultural expression.
Film and television works are often a form of expression of culture, while historical dramas reflect the inheritance and development of culture by narrating stories from the past. "Monster of Beijing" chooses to use monsters as a carrier to explore the light and darkness of human nature, which is a reinterpretation of history. However, since historical issues have always been a sensitive topic in China and South Korea, the statements in the play may touch on some sensitive points.
Secondly, the dissemination of a work of art is often influenced by many factors such as the culture and values of the recipient. In international communication, especially in the age of the Internet, information is transmitted more quickly and the audience is more likely to access a variety of background knowledge. Therefore, it is not uncommon for film and television productions in one country to cause controversy in another.
In this process, cultural differences, historical cognition and other aspects are involved, and it is necessary to be more rational and avoid being too emotional about other cultural works.
In addition, the artist's response on social media has also become part of the controversy. Han So-hee responded firmly on social media, emphasizing the authenticity of the plot.
This way of responding is not only a kind of commitment to one's own work, but also a support for the creative team. However, in international exchanges, for some sensitive topics, the artist's response may also trigger more discussions, which need to be skillfully handled in the field of public opinion to calm down the controversy.
Finally, this incident also provoked people to think about historical memory.
Different countries have different understandings and perceptions of history, and works of art are often one of the mediums to express these differences. Through the reproduction of historical events, people can think more deeply about the past and reflect on the present, thus promoting a more rational view of history.
On the whole, the controversy caused by "Monster of Beijing" in international communication is not only due to the factors of cultural expression, but also involves cultural differences and historical cognition in international communication.
In the future, China and South Korea should be more sensitive to sensitive topics in cultural exchanges, and at the same time, creators of artworks need to be more cautious in handling sensitive topics to promote mutual understanding and respect between cultures.