Chapter 788: Cultural Invasion by Koreans

"SAIC?" After hearing the news, Fan Wubing shook his head and said, "Forget it, forget about them. You can continue to negotiate with the Koreans. The conditions must be harsh. Even if we can't get any advantage, we must spread the information and ruin their reputation."

Wu Zhi Xiaoji agreed, but he was a little surprised. It seemed a bit unethical from a purely commercial perspective to intentionally leak the content of the negotiation and related conditions, but since Fan Wubing asked him to do so, he must have his reasons.

"SAIC--" After Fan Wubing ended the video call, he rubbed his temple and thought about it. It seemed that SAIC had reached an acquisition agreement with Ssangyong Motor. Not only did it successfully acquire it, but it also controlled more than half of the shares and became the controlling shareholder of Ssangyong Motor.

However, they did not expect that the Koreans were so difficult to deal with. The Korean Automobile Workers' Union was even more stubborn. They invested more than 1 billion US dollars in one go, but did not see any return. In addition, they were accused by the Koreans of stealing their automobile manufacturing technology, which was very embarrassing. In the end, Ssangyong Motor was powerless to recover, and SAIC Group had to end in disgrace.

They let Wuzhi Xiaoji negotiate like this and leak some specific information. They just didn't want Chinese companies that were blinded by the acquisition trend to think that they could be the boss of foreigners, and agreed to other people's conditions at all costs, and finally made themselves embarrassed like a fool.

As for Ssangyong Motor, there is nothing wrong with letting it rot into a pile of stinky dog ​​shit. With the typical island mentality of the Koreans, it is reasonable to suffer a little loss.

Although Fan Wubing despises Koreans, many people in China obviously do not think so. When Fan Wubing turned on the TV, he found that the overseas theaters that were originally monopolized by the United Kingdom, the United States, Japan and other countries were now filled with a large number of Korean dramas, and the ratings were repeatedly hitting new highs, which was really a bit incredible.

Fan Wubing asked Xia Donghai's New Silk Road Entertainment Company to analyze the factors that make Korean dramas popular, and some conclusions were drawn. What is ridiculous is that the formation of the Korean Wave is actually related to the Southeast Asian financial crisis.

The impact of the Asian financial crisis on South Korea, in addition to the economic downturn, also has a soaring unemployment rate. One of the results is that writers can write at home without too much pressure, and the audience who are unemployed at home due to career and economic downturns also adds motivation to the film and television culture that needs to kill time. Therefore, the development of Korean TV dramas can be said to be a hotbed for Korean film and television culture during economic downturns.

Especially in the past two years, the Korean Wave, with pop music, video game industry, clothing, catering, animation, and film and television as the main carriers, has swept across Southeast Asia. Korean dramas, as the undisputed main force of the Korean Wave, have gradually developed from a spark to a prairie fire.

Idol groups with youthful and handsome features such as T, Shinhwa, TVXQ, and R have emerged one after another.

Mobile phones represented by Samsung and 1G have been popular in the world for a long time. Korean clothing has become a symbol of the pursuit of fashion by a new generation of women. Korean kimchi has become the leader of the kimchi family. Even the previously unheard-of seaweed rice and Korean bibimbap have become trendy because people are scrambling to get them.

When the Asian financial crisis hit South Korea, Korean entertainment suffered a heavy blow. In addition, due to its limited territory and sparse population, South Korea's domestic market opening potential is relatively weak, so the Korean entertainment industry has to turn its attention to neighboring countries and shift its economic focus from saving the Korean economy with the information technology industry to revitalizing the Korean economy with the cultural industry.

The entertainment system of Japan, which is located in the neighboring countries of South Korea, is well developed, and Hong Kong and Taiwan are also places with dense entertainment artists. However, the local entertainment market in China is extremely weak due to historical reasons. Basically, there are dishes on the plate, and there is nothing to choose from. Therefore, the Korean entertainment industry has positioned its main direction in mainland China.

Since Korean dramas opened a gap in CCTV, since CCTV-2 broadcast "What is Love" in 1997, this trend has become more unstoppable. Then, Korean dramas such as "First Love", "Men of the Bathhouse Owner's House", "Watch and Watch", "Miss Mermaid", and "Yellow Handkerchief" were broadcast one after another, which aroused strong reactions from the audience. Overseas theaters have almost become a special show for Korean dramas.

The Korean clothing, catering, music, video games, and variety entertainment driven by the Korean film and television industry have combined with it to jointly set off a wave of Korean Wave in China.

The cultural exchanges between China and Korea began in the Spring and Autumn Period. In the Tang Dynasty, Confucian culture represented by Confucius and Mencius was introduced to Korea. The Analects, Mencius, Spring and Autumn Annals, and Book of History became Confucian classics for them to improve their self-cultivation. This Confucian thought with the eight virtues of Confucianism as the core has been passed down from generation to generation in Korea, and the degree of preservation is even surprising to us locals.

On the other hand, the traditional Confucian culture has become less and less in Chinese culture since the Ming Dynasty. In addition, the "Down with the Confucian Shop" during the May Fourth Movement and the ten-year catastrophe of the Cultural Revolution, while opposing feudalism and establishing new ideas, also caused a serious blow to the excellent traditional culture of the Chinese nation. The status of Confucian culture plummeted, and classic books were discarded as feudal dregs.

So today, after Confucian culture has been sold to us by South Korea after a round of foreign travel, and the sales process is smooth and unimpeded. One of the reasons why Chinese audiences are so easy to accept Korean dramas is also based on the common psychological foundation of Confucian cultural thought. Because of the similar moral standards, under the same moral requirements, the possibility of audiences being moved by the drama becomes greater.

In contrast, the Chinese cultural market seems to be lacking in vitality and stereotyped.

Historical dramas always show that the royal children fight for the throne at the cost of brothers, and the concubines in the harem fight for favor and the position of queen. Family dramas are always full of conflicts. If there is no conflict, there will be no story. It is always a binary opposition.

In emotional dramas, after the wind of Qiong Yao's tearful dramas in the past few years blew away, the emotional theater seemed to have lost its backbone and seemed a little at a loss. Today's domestic emotional dramas are full of color and desire, and one-night stands and third parties have become essential factors in the drama. Whether it is a historical drama, a family drama or an emotional drama, most of them interpret the cruelty of reality and the hardships of fate. Even comedy can only be a smiling face full of tears after experiencing bitterness and hardship. While interpreting reality and educating the audience, it also gives them invisible life pressure, making it difficult to achieve the real purpose of film and television entertainment for relaxation and entertainment.

In this case, Korean dramas with the main characteristics of being relaxed, lively, warm and fashionable have become the audience's choice, and it is not surprising that the Korean drama phenomenon has emerged.

Moreover, Korean dramas are also unique in production. They are written, filmed, performed, and self-produced and sold. The number of actors' roles, the length of the story, and the ending of the story are all determined by the opinions of the masses through voting activities.

Generally speaking, after completing the planning of a new TV series, Korean film and television production companies do not immediately invest in the creation of the work, but first look for TV stations with high ratings, such as the three major Korean TV companies, KBS, and SBS. After obtaining approval from any of them, the screenwriters will start writing the story outline and the scripts of the first few episodes. They do not need to write the entire script before filming, and even the story outline does not need to be written in full, which avoids the possibility of doing useless work because the play is not adopted.

For example, under normal circumstances, the story outline of about ten episodes and the script of four to six episodes are written in advance, and four to six episodes of the finished film are generally produced before the broadcast. After that, the script is written, filmed, and broadcasted at the same time.

After a few episodes of the TV series are filmed, the screenwriter will discuss with the audience in the form of a symposium, or establish an official website for the TV series to allow the audience to give feedback in a timely manner. The role of the actor is increased or reduced based on the audience's likes. If the actor is popular and well-liked, his role will be increased, otherwise, his role will be reduced.

Sometimes, after the screenwriter writes the outline of each episode and the scripts of the first few episodes, the audience will be asked to vote for the most suitable male and female actors to play the roles in the play.

In addition, the number of episodes of a TV series is not pre-set, but determined by the ratings. TV series with high ratings can be extended continuously, while those with low ratings will end hastily.

In addition, the playwright will adjust the development direction of the plot, the life and death of the characters according to the audience's feedback and requirements, and determine the ending of the story according to the audience's wishes. For example, in a film, the fate of the male protagonist was originally to die in a car accident, but most of the audience could not accept this tragic ending and asked the screenwriter to resurrect the male protagonist. So the screenwriter let the male protagonist come back to life as another character, return to the play in the form of amnesia, and continue the development of the plot. Unexpectedly, it achieved very good results.

Since Korean TV dramas adopt the self-production and self-selling method of "writing and selling at the same time" while writing, shooting and broadcasting, the screenwriters have to make outlines and write the first few episodes of the script, and then continue to write the script according to the feedback of the audience, and adjust the direction of the story development in time to cater to the audience to the greatest extent. The full participation of the screenwriter is also an important factor in the popularity of Korean dramas.

After Fan Wubing and Xia Donghai and others had an in-depth discussion on this phenomenon of Korean dramas, they thought that they also needed to do something, otherwise the domestic screens would be monopolized by Korean dramas, and the great country would lose face.

However, Fan Wubing put forward his own suggestions to create Chinese urban blockbusters and family life films. The most important point is to launch their own fantasy blockbusters in time.

"Fantasy blockbusters?" Xia Donghai was still a little surprised when he heard this term. Yes, it was a feeling of surprise.