备忘录范文
64
想学商务英语
CHINA TODAY
By NIU MENGDI & WANG HUI
Content Is King
L
AST July, the period costume drama The Lon-gest Day in Chang’a n was aired in many Asian countries such as Japan, Singapore, Malaysia, Brunei, and Vietnam. It also appeared in the form of paid content on international video websites like Viki, Amazon, and YouTube. The play was not only appreciated by Chine audiences, the appeal-ing ancient charm of the Tang Dynasty also attracted many overas audiences, causing a substantial increment in consumption of Chine TV dramas in foreign countries.
Chine films and television dramas have culti-vated a large-scale overas market with a steady increa in their export, diversified genres, and out-standing quality, unveiling a new chapter in the co-operation between countries in the field of broadcast and media entertainment.
Learning from Each Other in Cultural Exchanges
hssDriven by technologies such as the mobile Inter-net, big data, and artificial intelligence, consumption of media content has become a common choice for people to enrich their cultural life, and also a chan-nel for the world’s audience to experience Chine culture. Well produced Chine TV dramas have created a China fever among the audiences of many countries and regions in the world. It has opened a window for a vivid and comprehensive new under-standing of Chine history and culture, and formed a new kind of international cultural communication phenomenon.personal information
The Longest Day in Chang’a n , which has become popular overas, combines Chine culture with a
grails
CulTure / new VisTas
compact narrative rhythm, which satisfies the dual needs of overas audiences to understand tradition-al Chine culture while also being entertained. The tting in which the story is t is of a refined cultural style and features the ancient city of Chang’a n. The
An image from The Lon-gest Day in
楔子是什么意思
Chang’an.
65
October 2019
openness and prosperity of the Tang Dynasty (618-907) give the play broad space for an extensive por-trayal of traditional cultural symbols. For example, for the costumes of the ladies, the crew adopted nine kinds of flower-and-bird pattern designs prevalent in the Tang Dynasty, as well as the tie-dye technology which was popular at that time. The meticulously designed costumes, elaborately recreated banquet scenes, and intangible cultural heritages incorporat-ed into the plot showca the highlights of traditional Chine culture during the Tang Dynasty.
“We really need to have works go abroad and gain international recognition, becau our industrial level, equipment, and professional quality are actu-ally on par with that of foreign teams,” said Cao Dun, director of The Longest Day in Chang’a n .
Liu Heping, chairman of the judging panel of the Shanghai TV Festival Magnolia Awards, said that the first condition that must be possd by an excel-lent TV ries is the epochal character. “It is n
eces-sary to reflect the spirit of the times, even historical dramas and costume dramas should be relevant to the prent era. With a new understanding of history
and historical figures, we can keep up with the pace of the times.
Porcelain Story , a Chine documentary about looking for Chine porcelain in Europe and Asia, tracks the spread of Chine ceramic culture around the world. Jing-Ju Cats , the first domestically pro-duced animation that combines Peking Opera ele-ments with cartoon characters, takes cats as the main character with its optimistic and attractive plot. The documentary China’s Mega Projects – Bei-jing Subway Network , focus on the construction of the world’s largest subway network, highlighting the specific feature of modern China. The TV ries The Thunder , bad on real cas, revolves around a father and son who reprent two generations of policemen as they risk their lives in the war against drugs. The various media projects, which are loved in China, are gradually helping foreign audiences un-derstand China.
The productions convey China’s excellent tra-ditional culture or showca China’s contemporary development, and have refreshed foreign audience’s perception of China. They not only garner a good overas reputation, an expanding global market, and increasing international cooperation, but
also demonstrate the cultural lf-confidence of the Chi-ne in the new era. They boost the global influence of Chine culture and the world’s recognition of Chi-ne concepts.
From Import to Export
Nowadays, a large number of outstanding Chine TV programs have gone abroad and gained countless foreign fans.
Throughout the history of Chine TV programs, from TV ries Pretty Li Huizhen and Operation Proposal to variety shows such as Where Are We Go-ing, Dad ? and Running Man , the copyright purcha model is dominant, and the lack of innovation has become a shortcoming of domestic content creation. The copyright dispute of the popular variety show The Voice of China has sounded the alarm for the en-tire Chine film and TV industry – the introduction of copyright is only a short-term tactic, and only true innovation can guarantee the vitality of the industry.Chine-made TV programs are undergoing a transformation: from imports of productions and copyright purcha to joint development with over-The produc-tions convey China’s ex -cellent tradi-tional culture or showca China’s con -temporary development, and have refreshed foreign audi-ence’s percep -
others的用法tion of China.
A promotional event of the film
californiadreaming
Ne Zha.
66CHINA TODAY
In 2019, Chi-ne film and television stu-dios and online networks have achieved fruitful results in inter-national co-operation and
exchanges.as parties, to independent creation, and to the sale of original Chine content to overas companies. With the improvement of the production quality of film and television dramas, domestic TV dramas are increasingly adapted to the international market in the process of going global.
exocellWith the rapid growth of China’s economy and cultural soft power, Chine films and TV dramas have the chance to compete with the world’s top content. Netflix, the world’s largest streaming me-dia platform, has bought at least eight Chine TV ries’ streaming rights for audiences in more than 190 countries and regions. Besides, cultural perfor-mances telling Chine stories, intangible cultural heritages, and temple fairs symbolizing the legacy of Chine traditional culture have also successfully gone abroad.
Bridges for Communication
今年考研时间Along with the improvement of China’s overall na-tional strength, a growing number of world audienc-es are wondering what kind of country China is. Not only do the traditional Chine image symbols such as “emperor” and “kung fu ” appear in period costume dramas, but high-quality film and television content reflecting current social reality have also played an important role in displaying the image of China in the new era.
Aerial China , which overlooks China from an aerial perspective and prents China’s natural and cultural landscapes in three dimensions, not only al-lows the Chine to fully understand the history and development of their motherland, but also rves as a medium for the exchange between Chine and Argentine civilizations, and brings the extensive and profound Chine culture to the world audience. At the end of 2018, at the launching ceremony of the documentary films Charming Argentina and Charm-ing China jointly produced by the China Media Group and the Argentine National Radio and Television Sta-tion, the president of the China Media Group, Shen Haixiong, gave Aerial China , the largest 4K aerial TV production in China to date, as a gift to Argentina. This form of film and television exchange and coop-eration helps the people of both countries to know each other and their civilizations better. According to Hernan Lombardi, Argentina’s minister of the fe
deral system of media and public content, through
the cooperation of the two crews and through the documentaries, the two sides have reached more common understanding, which is quite meaningful to the people of both countries.
In 2019, Chine film and television studios and online networks have achieved fruitful results in in-ternational cooperation and exchanges. For instance, a number of agreements were signed with South American countries, such as the China-Brazil Film and Television Association Strategic Cooperation Framework Agreement and the China-Argentina Film and Television Association Strategic Coopera-tion Framework Agreement.
Film and television is one of the most vigor-ous fields of international exchanges in this era. Beijing and Rio de Janeiro, the two cultural centers that signed the sister city agreement, ud a ries
of excellent audio-visual works to exchange and
understand each other, and t up a bridge for com-munication between the two countries. In the view of Du Feijin, a member of the Standing Committee and director of the Publicity Department of the CPC Beijing Municipal Committee, “This kind of activity should be normalized in the future to ma
ke it lasting and more attractive. Through the innovative coop-eration in the fields of radio and television and online content, we will add vitality to the development of
human civilizations.”
CulTure /
new VisTas
Behind the scenes of the making of Ne Zha .
67
October 2019
Creating More Excellent Works
During the past two years, through expansion of channels and exploration of new cooperation models, homemade TV dramas have made marked progress on foreign markets. Content creators are ac-tively eking what kind of dramas will attract more overas viewers, so as to open a window to explain Chine culture for the world.
In 2013, Beautiful Daughter-in-Law was broadcast in Tanzania. In 2017, All Quiet in Peking was broad-cast online by Netflix. In 2018, A Love for Separation was broadcast in Mongolia and topped audience rat-ings. In 2019, The Longest Day in Chang’a n received much prai worldwide. During the past few years, there have been many excellent realistic master-pieces that reflect today’s China. This phenomenon strongly confirms that original high-quality content is the trend of the times,
and improving the quality is the basis of creation.
China’s 5,000-year history has given homemade TV dramas a unique profoundness and significance,
and life of the modern era has brought infinite va-riety and vitality to their content. The values of be-nevolence, righteousness, courtesy, wisdom, faith, and courage covered in the productions are the focal point that can stimulate the interest of overas audiences. Yang Shuo, director of Beijing Municipal Radio and Television Bureau, hopes that workers of the film and television industry jointly strive for the development and innovation of the ctor in the digi-tal age, ek deeper exchanges and cooperation, pro-vide the people with better products, and showca the latest achievements in the development of film and television.
In the future, it is expected that more master-pieces focusing on China’s reality and telling China stories will go abroad and let the people of the world better understand Chine culture. C
NIU MENGDI is a reporter at Guangming Daily ; WANG HUI is a postgraduate at the School of Languages and Communication
Studies of Beijing Jiaotong University.
The TV ries The Thunder is bad on real cas.
