Critics say this system unfairly skews financial risk towards the independent producers. But the ruthless competition between them has helped drive a dynamic industry with broadening international appeal.
批评者表示,这一制度不公平地让独立制片公司承担了大部分的财务风险。但是,这些制片公司之间的无情竞争提高了该行业的活力,在国际上产生了越来越大的吸引力。
Japan has been by far the biggest foreign market ever since the success in 2003 of Winter Sonata, a mixture of slushy romance and high drama that won a huge following among middle-aged women (see box). Executives see limited room for further growth there, however. The novelty has worn off among the Japanese, with sentiment towards South Korea also darkened by a growing diplomatic dispute over the nations’ past colonial relationship.
日本一直是自2003年《冬季恋歌》(Winter Sonata)大获成功以来韩剧最大的海外市场。那是一部多愁善感、情节曲折的爱情片,受到了中年女性的热烈追捧。然而,行业高管们认为日本市场的未来增长空间受限。一方面,日本人对韩剧的新鲜感已逐渐消退,另一方面,历史上两国之间殖民关系引起的外交纠纷日益加深,也使日本人对韩国的印象变差。
So the industry is looking further afield. Broadcasters in Iran, Iraq and the United Arab Emirates have given primetime slots to conservative South Korean medieval dramas. “In those countries they don’t want to see women in short skirts,” explains Jo Han-sang, an overseas distribution executive at KBS.
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