The moon is black and wind is high in the night, it is the time to do business.
On the evening of December 21, a nuclear bomb-level news detonated the public opinion circle. 111 well-known screenwriters, directors, producers, and writers, including Song Fangjin, Wang Hailin, and Qiong Yao, posted joint signatures on Weibo to resist Yu Zheng and Guo Jingming, calling for " Plagiarists should not be role models."
By the evening of December 22, the incident escalated further. Screenwriter Song Fangjin posted on Weibo that another 45 film and television industry practitioners had joined the joint boycott list. So far, a total of 156 film and television industry workers have jointly boycotted Guo Jingming and Yu Zheng.
The news soon triggered a lot of discussions on social media such as Weibo. Many people in the Weibo comment area of Wang Hailin and Song Fangjin expressed support, but at the same time, some users said that they were just jealous and the controversy grew.
Is the joint signature appeal of these 156 film and television people really effective? Are they only Guo Jingming and Yu Zheng who resisted? The incident is not that simple.
Guo Jingming and Yu Zheng are not the only ones who resisted by 156 filmmakers
Wang Hailin, Song Fangjin and other filmmakers called for boycotting Yu Zheng and Guo Jingming, mainly because these two were judged to be plagiarism by the court. Such abominable behavior is naturally despised by screenwriters who rely on words for a living, let alone they refuse to apologize. Recently, he has appeared as a mentor on many variety shows.
In 2006, Guo Jingming was sued by Zhuang Yu, the author of "Circle Inside Circle Outside", for his work "How Many Flowers Fall in Dreams" for plagiarism. In the end, Guo Jingming lost 200,000 yuan in compensation and a public apology.
And Yu Zheng was also sued by the original author Qiong Yao for allegedly plagiarizing "Plum Blossom Burning" in the film and television drama "Gongsuoliancheng". The result was that Yu Zheng also lost the lawsuit, but like Guo Jingming, he chose not to apologize and even chose to pay more .
Due to plagiarism, Wang Hailin referred to Yu Zheng and Guo Jingming as "literary thieves," but they can still be invited to serve as mentors in programs that judge acting skills such as "I Am an Actor 3" and "Actors Please Take Your Place".
Similarly, Yu Zheng and Guo Jingming both caused controversy during the show. They were questioned whether the judging criteria were fair and proper. Guo Jingming even cried during the show. It is conceivable that the hot search on social platforms such as Weibo after the show was broadcasted was " Content such as "Guo Jingming's Tears" brought a lot of volume to the show.
Whether right or wrong, the traffic caused by the controversy has attracted a lot of attention to variety shows, which is one of the reasons why Guo Jingming is invited as a mentor in "Actors, Please Get In".
In addition to resisting the plagiarism of Yu Zheng and Guo Jingming, the 156 film and television people such as Song Fangjin and Wang Hailin are more likely to resist the "traffic mode", which is a mode of production and distribution of film and television content based on traffic stars and all viewing ratings.
When it comes to traffic mode, everyone should not be unfamiliar. In recent years, there have been many dramas based on traffic mode in the film and television market. Most of them have traffic stars as the protagonists. The film and television types are also sweet favorites or idol emotional dramas. Guo Jingming’s "Little Times" The series is one of the typical cases.
Because of the support of fans, traffic stars have excellent data on social media such as Weibo. It is common to forward more than 10,000 likes, or even more than one million, and the episodes they starred in have even exceeded 10 billion views. The situation appeared, even exceeding the population of China.
According to Maoyan movie statistics, the box office of the "Little Times" series alone has reached 1.78 billion yuan. Such a high data is beyond the reach of many high-profile movies. The high box office of the "Little Times" series obviously depends on the fan audience of this IP. Groups, and fans of a series of star groups starred in.
The IP-only theory and the traffic-only star theory have obviously squeezed the living space of other types of film and television content, especially the living space of original drama series.
And the dissatisfaction of 156 film and television actors including Song Fangjin and Wang Hailin towards Zheng and Guo Jingming did not just start from the joint book. Before that, Wang Hailin criticized the traffic pattern on Weibo many times. His criticism of Xiao Zhan also cited A large number of fans reported.
After that, Wang Hailin’s video on the B station commenting on the traffic mode was on the hot list. In the video, Wang Hailin said that many traffic stars who have not received formal film and television performance training can enter film and television dramas as male and female protagonists.
He also complained:
We haven't written more than two lines of lines in many years. What he can't memorize, we are very conscious now, it is the male sentence and the female sentence.
It can be said that the joint boycott of 156 film and television actors is an explosive voice against the long-term market pursuit of traffic.
"Guo Jingming, Yu Zheng" will not fall anytime soon
With the joint voices of Wang Hailin, the screenwriter of the well-known drama "Legend of Chu and Han Dynasty", Qiong Yao, the original author of "Returning the Pearl," and even 156 screenwriters, directors and producers in the film and television industry, the traffic can be removed at once Mode, defeat Yu Zheng and Guo Jingming?
The answer to the question may be negative. Although Yu Zheng and Guo Jingming have been tried by the court for plagiarism, the answer is that they did plagiarize, but from the perspective of the commercial market, their commercial influence is really not low.
It is undeniable that both TV series and movies are a kind of content consumer products. The three major video platforms of UniTen and offline theaters need to rely on the audience's payment to obtain revenue in order to achieve the result of continuous operation.
So in the film and television industry, the most critical and loudest thing is obviously the audience's choice. They did a good job in getting the audience to pay.
Guo Jingming's movie "Grand Trail 2: Cold-Blooded Banquet", which was screened online some time ago, received nearly 20 million views in just 4 hours. Today, its related albums have reached more than 98 million views. You need to know this For the first film on Tencent Video, it costs 12 yuan to open a VIP to watch, and 24 yuan to open a VIP, which is very close to the price of a movie ticket.
Although 98 million views can't be calculated purely as a box office, it is a 10% discount, which is a box office of over 100 million yuan per person. In addition, the film "Qing Ya Ji" produced by Guo Jingming Fang, according to the data released by Maoyan Film, has also reached more than 28 million pre-sale box office.
Yu Zheng went a step further. Both "Gong Lock Heart Jade" and later "Strategy of Yanxi Palace" were domestic hits. According to official data, the cumulative broadcast volume of "Strategy of Yanxi Palace" even exceeded 13 billion. , The highest single-day broadcast volume exceeded 700 million, which can be said to be a new level of data for domestic dramas, and Yu Zheng has also further popularized the actors in the drama through these dramas.
Gong Yu, CEO of iQiyi, also expressed his recognition of Zheng, saying that "Made in Yuzheng" is very much in line with current market needs. The implication is that the drama series that Yu Zheng participated in can satisfy the audience. As a platform for long-term cooperation with Yu Zheng and his company, iQiyi further confirms the influence of Yu Zheng's production on the audience.
For video platforms and satellite TVs, it is a safer choice to purchase IP-based works adapted from traffic stars and even books with certain influence. After all, there is a fan base, and a certain amount of fans are willing to pay. Yu Zheng and Guo Jingming are obviously the best in this model.
As long as the influence of this traffic is present, the video platform and satellite TV will not easily give up the content produced by Yu Zheng and Guo Jingming. Even if the two people withdraw, as long as there are corresponding audiences, IP dramas and traffic dramas can also prompt viewers to pay , There will be other "Guo Jingming" appear.
Compared with the market, the audience's choice, and the video platform satellite TV's choice for stability, the voice of these 156 film and television actors appears to be much smaller, although they can speak to Guo Jingming and Yu Zheng to a certain extent. The company’s commercial landscape will have a certain impact, but it will not take effect so quickly.
We are still some distance away from the industrialization of film and television
In the past few years, traffic stars + big IP + big platforms have become the "wealth code" of the film and television industry. The popularity of the "Little Times" series and the playback data records of domestic dramas have been updated again and again. Fans are like workers bees as idols. The celebrities create magnificent business data, even if they need to be paid.
Some time ago, the Douban Book Review page was praised by a large number of accounts. Yishui’s "good-looking, good-looking, good-looking" comments are that fans are raising accounts for idols in advance, so that they can later score high for idol film and television works.
All of the above have contributed to the popularity of traffic model dramas, but this does not mean that the so-called "wealth code" in the film and television industry will become popular.
Because they have not received professional performing arts training and work accumulation, traffic stars are often weak in performance, and the quality of the drama is difficult to guarantee. In addition, the mass appearance of IP adaptations and traffic stars in recent years has also aroused the disgust of the audience to a certain extent.
On Weibo and Station B, there are also a large number of users resisting the idol culture of the rice circle, against idol dramas and costume dramas, etc., as can be seen from the user reviews of Wang Hailin Station B and Weibo.
The traffic model is not always effective in today’s market environment. According to the data report released by Maoyan, the hottest and out-of-the-circle drama last year was "Chen Qingling" with two traffic stars, Xiao Zhan and Wang Yibo. This year it has become a high-quality series such as "The Hidden Corner" and "The Twelve Hours of Chang'an".
When more and more viewers are willing to choose original dramas and choose to pursue reputation and drama quality, video platforms and satellite TV will naturally choose high-quality dramas like "The Hidden Corner" in the pursuit of profitability. Rather than IP drama series starring by traffic stars.
To put it bluntly, video platforms and satellite TVs still have to look at the profit risk when buying episodes. The audience's statement is very important in this process. If you want to watch more high-quality episodes as a viewer, then you have to let the platform know your The idea, even if it is just a way of watching as a vote.
The traffic star + big IP + big platform model will not disappear for a certain period of time, and some audiences will still buy it, especially fans. The relationship between these dramas and high-quality word-of-mouth dramas such as "The Hidden Corner" should be coexistence, not Squeeze the living space each other.
Ancient costumes and sweet pet love dramas should be part of the entire film and television industry, rather than occupying most of the industry space, which is what the 156 film and television people hope to express.
If the film and television industry wants to continue to develop in a healthy and sustainable manner, it should be full of various types of dramas. After all, audiences have different hobbies. This is the industrialization of the mature film and television industry, whether it is for audiences, filmmakers, or video platforms and satellite TV. good result.
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