In any era, we will encounter a group that is easy to blindly worship or blindly belittle, and there are many reasons for this kind of viewing of the surroundings with some kind of filter, such as knowledge, experience, political propaganda, and so on.
Remember the previous South Korea's "application for heritage", leng Bu Ding has triggered a hot spot of online discussion, and the extreme remarks are naturally a denial of South Korea's all-round multi-angle three-dimensionalization.
It just so happens that there is a topic related to [filters] recently, and I will briefly talk about the modern Korean film and television industry from this perspective.
[1] Let's talk about "Squid Game"
There was a previous web series called "Squid Game" that suddenly caught fire, and for a while, there was an illusion of "not looking at people". The overall quality of this Korean drama is indeed very high, but if it involves a strange kind of "class popularization", it seems abnormal.
The possible reasons for this situation are: first, Netflix hopes to strengthen the brand's influence in China and use various marketing means to strengthen the concept output; second, the domestic media numbers and marketing numbers are really lacking hot hype, and it is difficult to grasp a work of good quality, and it is desperate to squeeze the value.
The first reason is obviously unlikely. Although the Chinese market is large, Netflix can't get in at all, and there is no need to engage in any brand promotion. Moreover, there are many ways for people in China who want to see overseas works.
The second reason really doesn't make much sense, almost got it.
"Squid Game" this kind of use of human weaknesses to gamble money and gamble life story design, the previous works have "Gambling Apocalypse", "Fraud Game", "Hunger Games", etc., usually a work is successful, the script base is the first, the acting skills of the starring actor are second, and the costume road + music + editing + post-production is the third -
Of course, as you and I both know, in some mysterious country, the lead actor does not need acting skills and only needs a face to overcome everything. Oh no, I've heard that the current AI technology can already achieve post-implantation, and it seems that the starring actor does not need to face only a name to ensure the full commercial success of the work! aha! mighty!
The core reason for this work is that I am more curious about how the story is made up, rather than how the director is filmed, whether the acting skills of the starring actors are online, etc. Although the director of "Squid Game" is Hwang Dong-hyuk of "The Melting Pot", I have only seen "Strange Her"; although "Squid Game" brings together Lee Jeong-jae, Lee Byung-hyun, Park Hae-so, Kong Liu and many other people who can really act.
To be fair, from a purely scripted point of view, if you are first contact with such works, you will definitely have a great sense of shock; however, if you have been exposed to works such as "Gambling Apocalypse", "Fraud Games", "Hunger Games" and so on, you may consider or pay attention to different points.
Then, the success of "Squid Game" in my eyes is the use of contemporary film and television industrialization ideas to create a "standard product", its operation logic is the same as Hollywood packaging global distribution of movies, the standard is: the cast is luxurious, the quality of the script is solid, the service is desperate to spend money, the promotion of high-profile packaging.
Ok, here to mention a so-called "filter" is, if the success of "Squid Game" to over-praise Korean film and television works (while devaluing domestic film and television works), or, contemptuously think that Korean film and television works are nothing more than the "take-ism" of the European and American film and television industries - that is, one is "praise", one is "derogatory", it is unreasonable.
[2] The Korean film and television industry under the filter
A few years ago, we were able to see genuine Korean variety shows and film and television works in China, and Korean investors and artists were very optimistic about China's big market.
The "Korean Wave" of that year was more fierce than today's "domestic idols", and the comprehensive strength of a group of Korean artists (actors) who tried to seek development opportunities in China was really high, really they could sing when they lifted the microphone, and they could be funny when they put down the microphone, and the appearance and acting skills were both online .
After that, because of the missile matter, there was a "Korean restriction order." The South Korean film and television industry wants to seek market opportunities, that is, to further "go to sea", the main direction of attack is nothing more than Southeast Asia and Europe and the United States, if you look at the market alone, the US market imagination is greater - of course, the competitive pressure is also greater.
Here we will mention [Netflix], as for how Netflix is deeply integrated step by step in the Korean film and television industry, it is another story. And what I'm talking about here, to be precise, is what I think, [Netflix] has provided [money] and [model] to the Korean film and television industry, so how much money has [Netflix] invested in South Korea in the past five years?
The answer is more than 770 billion won (about 4.1 billion yuan). According to the new unit of measurement, "One Cool" is 160 million, and "One Day" is 2.08 million. It is about equal to 26 shuang, which does not seem to be a big number from the perspective of the Chinese market.
Well, but this is South Korea.
At the same time, the American TV series screenwriter dominates the system, which we mentioned before, which is the most cost-effective [creation mode] to create a good work under the experience of time. [Netflix] invested in many works in South Korea, the basic use of this kind of [screenwriter-led system], coupled with South Korea's previous film and television dramas will modify the "next episode plot" of the "next episode" according to audience feedback that week (this model is extremely demanding, not only to have accurate grasp of market feedback, but also to have a strong industrial assembly line of continuous axis filming + production), as well as, the production side is not bad money, it is relatively easy to create a work with excellent market feedback.
By the way, there was a huge strike by American screenwriters that had a profound impact on the ecology of the entire industry, and you can find out if you are interested.
Moreover, in fact, the theme of Korean film and television works is not single, for some viewers, the impression of Korean dramas (let's say it is also a filter) is still stuck in a variety of bitter love Korean dramas or family ethics dramas (mother-in-law's mother's business).
Then, if you pay attention to the dynamics of Korean dramas, you will find that in recent years, the theme of Korean dramas has also blossomed, such as workplace bitterness, family colleges, suspense detectives, demons and ghosts.
Of course, we can also say that many works are too much like the "remakes" of those classic American dramas after korean localization, like "Witty Doctor Life" is very similar to "Grey's Anatomy".
To be fair, the internationalization of Korean film and television works in recent years has indeed been fruitful, and word of mouth and revenue have been harvested.
If you open all kinds of so-called "filters", I still want to say that the hard power of the Korean film and television industry is completely forced out, the domestic market is so big (the total population of South Korea is less than 53 million), do not seek development and innovation, coupled with the invasion of external works, the domestic industry is doomed to decline.
We really should not only blow the "international" side of the Korean film and television industry, but we must think about it, if our domestic film and television industry is also integrated into the world's cultural industry competition, can we brighten the muscles and show the body?
[3] What do we want to learn?
To put it a little more abstractly, the success of the Korean film and television industry is to find the right people and give enough money.
Let's be ourselves, money should be not lacking, what is missing is people, and there are some relaxations of the system.
At the same time, there are many factors that affect the development of domestic film and television works, leaving aside the objective existence of the review (review) mechanism, what makes many viewers feel "bored" is that the producer is too "commercial" - the quality of the work is average, everyone thinks of "circle money", and may not be rude to think of "circle money" + "runaway".
Variety shows, original things are too few, the producer still likes to "search for inspiration" from Japanese and Korean variety shows - yes, cultural people can say "copy" well; TV series and movies, I dare not say too much, so as not to be maliciously ridiculed as "unpatriotic" and "do not support the development of domestic cultural industries".
Speaking of which, if the capital is really willing to spend money to ask people to make a solid script, ask a bunch of people who have acting skills online to pick the beams, and make a remarkable sense of quality, domestic film and television works can truly embark on the road of "driving the revitalization of the cultural industry with quality".
However, because our own market is large enough - the population of 1.41 billion, as long as the slight stimulation of 1% of people in the film and television industry consumption, may be very profitable. To say something that is not good, even if the dish on the service is rotten, there are always people who are willing to eat. In this way, the producer naturally has no incentive to produce [good works].
In addition, as mentioned earlier, the success of the Korean film and television industry (at least from the macro level) is not data-only theory like in China - what big data or models are at every turn, the cultural industry itself belongs to the industry that is not energyized at all, and the things you pile up with models are only the past, but you can't predict the future.
So, in China, what models and big data do you like to engage in — in fact, a lot of data is made out of fraud, and there is basically no reference — it seems to ignore the "core of storytelling." There are always all kinds of "dark horse" works in China, which can directly punch the faces of those who are engaged in analysis (simulation and prediction) into the size of the head of a T-Rex.
By the way, those who look at things with big data are also a kind of "filter observation".
I'm not saying that big data is wrong or bad, but don't think of big data] and [models] as the only references.
Finally, I would like to recommend a very niche but very interesting movie - "Miracle".
Based on a true historical story, the film has handsome men and beautiful women, laughter and tears flying together, love and family dancing together, and even a spirit and a stranger joining. The foreshadowing, bright lines, and dark lines of the whole story are intertwined quite cleverly, making people shout "So interesting!" ”
Lo and behold, a literary drama film can be made so exquisitely, we really have to learn it!