Conversation with Wang Hailin: A trend of “going against public opinion” | Wailu·CityU

 Character introduction Wang Hailin is a screenwriter, producer and producer from Mainland China. He graduated from the Department of Drama and Literature of the Central Academy of Drama with a major in screenwriting. He is currently the vice president of the China Film and Literature Society and a member of the Film and Literature Creation Committee of the China Film Association. His representative works include "Iron Teeth and Bronze Teeth Ji Xiaolan", "Legends of Chu and Han", "Dragon is Not a Dragon or a Phoenix Not a Phoenix", etc. He served as a judge for the 11th China Film Golden Broom Awards and a professional judge for the 15th China Changchun Film Festival. He has participated in many meetings to study industry issues, made suggestions for the legislation of related issues, and actively called for the rectification and reform of the current fan circle business model and film and television industry model on Weibo platforms.

In recent years, online novels of various themes have been adapted into films one after another. The overall quality of their content is uneven. Some viewers have become increasingly dissatisfied with this model, and have further questioned the work of screenwriters and the production of original content. Come up with expectations. At the same time, the idol and popular artist industries have "flourished" in this environment. While creating huge benefits for capital, it has also caused many social problems worthy of attention.

Li = Li Jingxuan

Wang = Wang Hailin

1

Changes in the Screenwriting Industry:

"The true owner of the work" under commercialization

 Li | We understand that you are now the vice president of the Chinese Film and Literature Society and a member of the Film and Literature Creation Committee of the China Film Association. I would like to ask you about the original reasons why you chose the major of Chinese drama screenwriting when you were studying, and when you officially entered this industry later. Motive? What is your original intention?

Wang|I still like writing and am interested in writing.

 Li | Compared with the screenwriting industry when you first entered the industry and the screenwriting industry now, is there any difference in the overall environment?

Wang|At that time, there was no complete commercialization. Now the degree of commercialization is very high. In the past, it was mainly based on creation, which was creative.

 Li | Does this mean that at that time, the screenwriter first had a concept and an idea, and then he wrote it into a script, and then went to find a producer or investor to finally turn it into a film and television work?

Wang|No. Our screenwriting industry has always been based on commissioned writing to this day. But what does commercialization mean? It means that if you have capital and money, you can make your own show. It was not until the late 1990s that private capital was allowed to invest in film and television. Previously, only state-owned capital and institutions with filming licenses could produce film and television works. Well, the creations at that time were mostly arranged by the state, with theater troupes and film studios producing in accordance with national plans. It was not a commercial operation channel.

 Li | So what do you think will happen to the screenwriting industry when capital intervenes and commercialization begins?

Wang|Commercialization used to be a work-led model. What does this mean? We think there is a good subject matter and a good story, so we want to make a film like this, so we won’t think too much about it. How much money can be made, how much money can be made for investors, and how much money can be made for the creator. I won't say it. It just means that it would be meaningful for us to write and film this play, and we will do it. But now that it is business-oriented, you will think about how much box office I will pursue, what my costs should be, and how much return I should get. For the creator, his way of thinking will change. If I were to make a story that I thought was interesting but might not make any money, there probably wouldn't be a chance to make it in this format.

 Li | What impact do you think this trend has on the status of screenwriters?

Wang | If it was creation-led in the past, then he is the core of creation. The screenwriter is in a "creative core" position. The screenwriter is a storyteller, and stories are born from him. And a film and television work is just a film and television version of the story. You have a good director and a producer to finally make it. But a very important thing about commercialization is that it is "artist-based". In this case, artists will join in, and the work can be sold for money, so it may become artist-centered or market-oriented. . For example, horror movies are very popular now, so as long as we make a horror movie and release it at a certain time, it will definitely make money. So this is mainly market-oriented, and the creator is not that important.

 Li | You said before, "The screenwriter is the real owner of a work." That is what you just said, the work is creation-oriented. So in the current environment of widespread commercial development, when you say that screenwriters are "not that important", does that mean that screenwriters will not account for such a large proportion in the production process of works? Has the screenwriter's right to speak also been lost?

Wang|Yes, this is very related to the general environment and the current channels of capital operation. Screenwriters are no longer the decisive factor. But it cannot be said completely. If we only talk about the operational aspects, such as financing and bidding, the screenwriter may not be that important, but in fact, in terms of real market performance, he is still very important, because no matter what The story itself is still important. In other words, screenwriting has changed from an explicit factor to a recessive factor. The degree of awareness of this issue will affect the success or failure of investors and even the entire work. The screenwriter may not be that important in terms of explicitness, but if you really operate like this, you may fail. Ultimately you may still have to rely on content to succeed.

 Li|That’s right. But now in the market, there seem to be very few screenwriters who create their own original works. Instead, film and television adaptations are prevalent. Why is this?

Wang|This is related to market risk. In fact, when we talked with Japanese playwrights, they were the same way. There were no original scripts for almost a whole year, whether it was movies or TV series. So what does this mean? It shows that the entire film and television market has huge risks. So we need a work that can be adapted, a template for adaptation, which may be a comic, a novel, a drama or something, because it has been market-proven. So this shows that nowadays, originality is actually a more difficult and risky thing. The creative market is actually in a relatively saturated state, but at the same time the competition is fierce. So he will choose to adapt the IP. In addition, this is also related to the decline in the professionalism of the producers themselves. Nowadays, many people may lack the judgment of the project. Who were the good producers in the past? Take "Young and Dangerous" for example. This is an original story. After being adapted into a film and television, it achieved extraordinary success, and then he continued to make the second and third parts. Then the producer's level lies in his ability to predict whether this subject type will be successful. But the current producer has no predictions. He doesn’t know what will be popular, so he can only look for existing semi-finished products and turn to popular novels or comics.

 Li | According to my observation, when the effect of such an adapted film and television work is not very satisfactory, the screenwriter seems to be the first person to bear the brunt. Everyone will blame the screenwriter, such as "magic reform" and the like. But as you just said, the screenwriter is now more of an invisible role, but when the work is criticized, he is the first one to be criticized. What do you think of this?

Wang|This has something to do with the power structure of this industry. When a work fails, if you attack and blame the artist, the power structure you have violated is more dangerous - it is more dangerous for the blamer. An artist has a lot of fans, and he has capital and many stakeholders behind him. You blame the director for the same thing, he also has many stakeholders. So in this power structure, the screenwriter is relatively single; his power structure is very single. So if you offend him, it doesn't matter.

 Li|Are most screenwriters aware of this problem now?

Wang|Even if he realizes it, there is nothing he can do. But you will see that after some screenwriters become producers, directors, or other identities, usually people don’t dare to blame them like they did before.

 Li | Do you think screenwriters’ creations will be restricted or interfered with now?

Wang|The job of a screenwriter is by invitation. It does not mean that he can write a script if he wants to. You must have Party A and you are working for Party A, so you are a screenwriter. After the screenwriter signs the contract, his space for self-expression must be subject to many restrictions, but what is his speciality? This order from Party A may be just an idea, then the screenwriter can work on it based on this Create an original work. And in fact, no matter what the order is, the screenwriter has the ability to realize the expression of his own emotions in this order.

2

The current situation of the film and television industry:

Choose "IP" or choose originality?

 Introduction to related terms: IP: Today’s IP generally refers to the content copyright of literary novels, music songs, film and television animation, electronic games, etc. in the field of cultural industry. An IP with market value generally has a certain degree of popularity and potential monetization capabilities. IP dramas are film and television dramas adapted from "IP". (source known from Baidu)
Fans of the original work: Fans of online novels or other literary works. They are only loyal to the content of the original work that they understand. They have higher requirements for the logic of the storyline than the general audience. (Source: Baidu Encyclopedia)
Danmei: The theme type of the work is mostly used to express (male) gay love in China. (Source Baidu Encyclopedia) Li|Then let’s return to the issue of adaptation. Most of the adaptations now come from the novels or comics you just mentioned, which we call IP adaptations. In their adaptations, the selection of many works has been protested and dissatisfied by fans of the original works. They do not want these works Being filmed and televisionized, then why does capital still choose to film and televisionize these works?

Wang|Because of making money. It is because they are interested in the data of IP. If there is no data, it is not called IP. How many people have read this novel? If there is a ranking, where is it? How many people like it? Using this data, it will have a basis for investment and financing, and its sales will also have a basis. The producer can convince the video platform to purchase this adaptation, because its audience, for example, is tens of millions of people, so in this case, your viewing is guaranteed. Then he will do other things, such as advertising, sponsorship, etc. This is a basis, so the value of IP is here.

 Li | Do you think this kind of excessive film and television will cause restrictions on literary creation? For example, the subject of Danmei was actually a relatively niche and hidden subject before it was adapted into film and television. It is published on certain websites and will be read by certain people. But when they are filmed and exposed to Fox, many restrictions will be returned to the creation of literary works. Do you think this will have an impact on the entire space of literary creation?

Wang|Yeah, right. It must be an interactive relationship and mutual influence. It turns out that it has a certain degree of freedom and is shared. But once it is commercialized, especially after it is filmed, it becomes a public product and a commodity, and it has to adapt to most people, which actually destroys its original expression space. Your original work may have been just a circle product, existing in that specific circle, but when you become a mainstream product, you must use mainstream standards to meet its requirements. Including communication standards and requirements, you will find that there are actually many things that do not meet mainstream standards. So in order to better enter the mainstream, be more commercialized, and maximize benefits, we must find ways to remove the parts that are not suitable for the mainstream and get closer to mainstream expression. As time goes by, it becomes the "mainstream" standard after being adapted into film and television, which in turn requires its original web writing to also conform to the "mainstream" standard. In the process, the values ​​it originally expressed will also Just lost.

 Li|So do you think this is a pity? Many creative ideas or expressions have been compressed?

Wang|Actually, this is still a problem caused by commercialization. So relatively speaking, what we hope for is that mainstream expressions should be based on mainstream standards. Because when commercial interests become too great, it will affect the expression of those circles. The work is actually safe within its own dimensional wall, but not after this boundary is broken.

 Li | You mentioned in an interview before that you particularly want to produce high-quality content. I would like to ask you what you think is the standard for producing such high-quality content? How to achieve this?

Wang|We should still go back to the original creation-oriented creative model, so that it can produce high-quality content and even generate greater economic benefits. For products launched on the market, such as Taobao, the audience is calculated. After knowing the needs of the audience, we can produce corresponding products according to their preferences. But creation cannot achieve such an effect because it is a spiritual product. The biggest difference between it and material products is that it has great uncertainty and it is difficult to see the boundaries. So what does he rely on? Rely on the artist. Artists will keenly and sensitively capture these parts that no one has expressed before. In fact, this has always been led by artists. For example, before Spielberg made "Jaws", the market did not know that there was such a genre; before "Assembly", the market did not know that war movies can also make money. Money, so when it comes to this year's "Changjin Lake", everyone can predict its outcome. The market is led and gradually broadened by artists - what do I want to shoot? Therefore, high-quality products still have to go back to the artist’s expression and start from him.

 Li | I went to see the works of Nortel graduates before. I think their themes are very novel and very eye-catching, but I also heard a saying that the campus is the only place where they can shoot and perform such works. Opportunity, what do you think about it?

Wang|Student work is not commercialized, so it has the greatest degree of freedom. Generally speaking, if you choose commercialization, you choose a restriction. First of all, this restriction comes from the requirements of capital on you. Capital will avoid risks, which is its biggest feature. This risk includes policy and political risks, and more importantly, economic risks. For him, he wants to minimize risk. So if you want to maintain your personal expression, you must think about it. Decommercialization means that your expression may only be seen by a few people. Especially for all film and television creators, this is a choice you must make. Secondly, the overall trend in these years is still different from the trend when we were in school. The biggest difference is that people of our generation may choose more personal expression, and then there will be underground movies, which means giving up theaters. As for the current situation, the subject is choosing more commercial expressions. For a young person, when he finds that his personal expression can only be seen by himself, it will be difficult for him to stick to this path, so he will choose commercialization. What is more worth mentioning is that this generation does not have a "generational" expression and does not have this "generational" value concept. For example, the fifth generation has the expressions of the fifth generation, the sixth generation has the expressions of the sixth generation, and Jia Zhangke’s generation also has the expressions of Jia Zhangke’s generation. But the expression of this generation is missing. Like Han Han, Wen Muye, or Zhao Ting, they don't have "something that our generation wants to talk about together."

 Li | In addition to issues related to self-creation, I think there is another topic that has always been controversial: Why doesn’t China adopt a rating system for movies or film and television?

Wang | The classification system actually involves a management and legal issue, and even a "constitutional spirit." The premise of the grading system, for example, in Western countries, is that you are a citizen, you have civil rights, and your civil rights include something. And I assume that as an adult, you are responsible for all your actions and choices. , you are willing to bear all the consequences of your choices. For example, pornography and violence, although this is obviously not encouraged in any society, but the local government thinks that you are an adult and you can bear the consequences, then you can think clearly about it and go watch it. But this is not the case in China. China's legal system or governance system is called "unlimited liability government", while in the West it is "limited liability government". Just like a limited liability company, I only bear the responsibilities assigned to me by the law. I don't care about the outside world. But what is an unlimited responsibility government? It means that you don’t do things that I don’t like, and you don’t do things that I think are bad. In fact, many things should not be managed by the government, and the government will take care of them for you. Therefore, the problem with the implementation of this hierarchical system is that our entire logic is different from that of the West. For example, before Jia Zhangke or Teacher Xie Fei, they called for this hierarchical system. I think they have not fully understood the real reason for not implementing the hierarchical system in China's context, which is the difference in governance logic. But I do think there is a way that may work. When director Liu Weiqiang talked about this issue, he said that children go to the movies with their parents, but there are some scenes in the movie that are not suitable for children. He believes that it is necessary to distinguish children from adults, so I think Liu Weiqiang’s statement is easier to convince an unlimited-responsibility government to accept and promote and persuade from the perspective of protecting children and teenagers.

3

The product of capital operation:

The increasingly deformed rice circle culture

 Introduction to related terms: Krypton gold: Originally "class money", it refers to the payment of fees, especially the recharge behavior in online games. Now it also refers to the behavior of fans spending money for their favorite artists. (Source: Baidu Encyclopedia)
227 incident: Xiao Zhan incident, also known as Xiao Zhan incident, 227 incident, Xiao Zhan fans incident, Xiao Zhan fans reporting incident, Xiao Zhan fans reporting AO3 incident, Xiao Zhan fans turmoil, Xiao Zhan fans reporting incident. From February to July 2020, fans of male star Xiao Zhan reported fan fiction to the Chinese government’s Internet regulatory department, triggering chaos in mainland China’s entertainment industry. (Source: Wikipedia)
The "Youth With You 3" variety show stipulates that fans must purchase the designated "Real Fruit Cream" and open the bottle cap to find the QR code on the inside in order to vote for their favorite idol. So many fans poured large amounts of undrinkable milk into the sewer in order to vote. (Source Tencent News)
Xiao Guoxiao Fa: It refers to the Weibo platform that has repeatedly helped male star Xiao Zhan ban unfavorable users, topic entries, etc., and has repeatedly put him on the Weibo hot search rankings to help him create a positive image. . Netizens jokingly called this phenomenon "Xiao Guoxiao Law", which means that this phenomenon is like the male star Xiao Zhan establishing his own "country" and having his own laws.
Female data workers: refers to some people who use various platforms, mainly Weibo, to collect data for their idols, including but not limited to operations such as likes, reposts, comment control, rankings, etc. Because these behaviors already have a relatively regular process, similar to the production line in a factory, and the product is the "good-looking" data of the traffic artist. Because of this kind of spontaneous work, "willingness to contribute" and the spirit of not expecting anything in return, outsiders generally find it difficult to understand, so these people are given an appropriate nickname: "Female Data Workers" (Source: Xiaoji Dictionary @嘤 Jiang)
Passerby: "Passenger" describes not having too much emotion towards a specific certain bit-traffic artist and holding a neutral attitude. "Passenger plate" is the general term for the total number of such "passers-by".
Operation Qinglang: The 2021 "Qinglang" series of special operations are special operations deployed and carried out by the Internet Information Office of the People's Republic of China. Concentrate time and efforts through special actions to solve the problems that the masses have strongly complained about, and improve the people's sense of happiness and gain. The key tasks of the 2021 "Qingming" series of special actions include: rectifying online historical nihilism, rectifying the Internet environment during the Spring Festival, rectifying the abuse of computing, combating Internet trolls, traffic fraud, and black public relations, and rectifying the Internet for minors. To improve the road environment, rectify prominent problems with PUSH pop-up news information, standardize website account operations, and rectify chaos in online entertainment and hot spot rankings. (Source: Baidu Encyclopedia)
To B: To business, that is, business entrepreneurship is for enterprises and provides services to enterprises (such as equipment manufacturers). In the entertainment industry, it is often said that film and television works are sold to platforms and other institutions, rather than actually sold to users. Li|The last point I want to discuss with you is about the current fan circle culture and capital market. Can you first give us a broad introduction to the entire industry chain of this model?

Wang | Our mainland idol culture industry hopes to form an idol culture like Japan and South Korea - especially Japan. The question is, if we don’t rely on cultural content, can we make money only on people? I have created this artist. He does not need to release records or act. As long as he is in my hands, I can make money. Then Japan uses things like handshake meetings, or their own internal rankings, or fans to raise funds to release an album and invest in it to make money. But the problem with this situation is that it is difficult for him to produce valuable cultural content - of course, if the artist himself or the artist's appearance can be converted into money, this is actually the most ideal model. . The mainland's idol industry wants to become a stage based on auditions and reality shows to increase the popularity of artists. It can rely on similar handshake meetings to raise funds for rankings, so that it can make profits in itself. This is actually the case in South Korea, but South Korea cannot do this because of its small domestic market. However, in China, it is relatively easy to achieve large amounts of capital raising and "krypton gold", which is determined by the population base. Now that they have tasted the benefits, they want to continue this model. But one problem is that capital is reaching out to young people, and raising funds to raise money will cause social problems. Therefore, these things in the so-called "rice circle" in China have caused some social problems, and the state has begun to intervene and take control.

 Li | Do you think the "227 Incident" and the "Qing Ni Milk Pouring Incident" clearly exposed the problems in this industry chain?

Wang: Yes. As I said just now, the works are not very important, they all rely on cultural products for sales. For example, in foreign entertainment circles, they still rely on activities such as concerts to make money, but this is no longer the case for us. Instead, we rely on krypton gold to raise funds. This is a big problem in the profit model. Therefore, it is harmful to cultural products and cultural content. We no longer need to create content, we just create designs for people. At the same time, it is platform-centered, whether it is a video platform or an Internet platform, so the power is concentrated on this.

 Li | Since you mentioned power, we have observed that after the "227 incident", the Weibo platform repeatedly banned accounts and users that had a negative impact on the event-related traffic artists, and banned topic entries. After this series of actions It was nicknamed "Xiao Guoxiao Fa" by netizens. Fans successively sent "Ten Questions" to major official media such as Phoenix.com, Procuratorate Daily, and People's Daily, accusing them of "ignoring the law" and then carried out a series of online violence. So I would like to ask, is the power of capital really that huge? Where does the "power" of these fans come from?

Wang|The entertainment industry in this era relies on data, and data can be used to redeem advertising and settlement. When a large number of "female data workers" are brushing data, they (not necessarily all women; but because women are the majority, so "they" are used as the pronoun here) are powerful people. There is also a situation where the brokerage company has commercial cooperation with some social media. Some people have rumored that "yearly and monthly subscription" has become a hot search topic. In fact, this is completely possible. Of course, I am not talking about "yearly and monthly subscription", but These social media mainly rely on this data and the activity generated by fans and their mutual interactions or other interactions to achieve performance. There are also other in-depth cooperations. For example, some plays have cooperation with some social media, and even include investment. Then public opinion is also part of his investment. So in the process of creating artists, their interests are highly intertwined. In order to obtain good data and good ratings, brokerage companies usually take the initiative to find these platforms for complex business cooperation, and even bring the brands they endorse to exchange some business resources. This "resource" is not necessarily money. itself. He spent money to control reviews, and the platform will not spread negative news about him because they have common interests.

 Li | There are some controversial traffic artists in domestic entertainment now, but in the face of such fierce doubts, capital seems to be "persistent" in buying hot search bits, software opening, etc. for them, which seems to have reached a continuous level. The effect of ruining the passerby plate. Does that mean that for this type of traffic artists, capital has already set that these traffic artists do not need publicity, and the fan base they have now is enough to support capital to continue operating on them?

Woof|That’s it. I have contacted the boss of Jibit Economic Company, and we will say out of good intentions that your artist now has a bad reputation and scolds others a lot. But they will say, I have other data. For example, while there are many people criticizing him, there may also be new people supporting him, so he may still have commercial value. There used to be a saying that advertisers tend to prefer artists with bigger publicity scores. It doesn't matter if there are few people supporting him, but there must be few people opposing him. So the current situation is that advertisers will also make adjustments. After being influenced by the fandom culture, he doesn't care even if there is a lot of opposition. This situation will cause certain changes in the public opinion pattern of the entire domestic entertainment industry. Now he has a tendency to "go against public opinion" and is willing to lose some consumers, as long as he has many supporters. Maybe people in the advertising industry will have a more professional analysis on this.

 Li | In my opinion, a better publicity list may mean that the artist's career will be longer, or that he will have outstanding works, rather than relying entirely on endorsements, advertising, etc., but now capital - like What you said is not very important. So while relying on artists to make profits, has capital also foreseen that the careers of such artists will not be very long?

Wang: Yes, capital hopes to take advantage of the popularity to harvest as quickly as possible. In fact, he does not have a relatively long-term plan for individual traffic artists. If he wants to be more long-term, he has to manage the passers-by and even his opponents. But instead of doing that now, he gave up running those parts. This shows that he may have felt that he was unable to reverse the situation, so he simply gave up. He took the time to cut off the piece of leek in the pink circle.

 Li | So are the traffic artists themselves aware of this problem?

Wang|In fact, traffic artists basically have no say in this process. Sometimes you will find their brokerage companies quite funny. They all believe in the data provided by various consulting companies, but they are only good and beneficial to them. In this way, he will feel that we are not bad. Although there are so many people scolding us, there are still many people who support us. We can obtain and exchange resources through them.

 Li | We published an article before and interviewed 13 Bit friends who are in the fandom. I was very interested in the expression of one of them. The general meaning is that when fans spend money on "brother", in fact, They are fighting against capital. They want to use this channel to free their "brother" from the control of capital. What do you think of such an idea?

Wang|Obviously they don't understand the actual situation, or they were impressed and confused by the set of things they created. In fact, all of this is capital's design, including fans who feel that they should help "brother" gain more freedom and rights. Fans don't know that their brother and capital are one and the same in many cases. In fact, it is very difficult for fans to spend money, or it cannot change this situation at all. This will only make capital less willing to give up on the artist and use him to make more money.

 Li|So what do you think are the common problems among fans of such popular artists?

Wang|Irrational, paranoid. Or there is no ability to think independently, no desire to think independently, and no desire for personal self-realization. For example, they will jointly do charity in the name of a certain fan, rather than in the name of an individual. They are willing to actively become adherents of a certain symbol. We say that modernism is about personal attention to the self, right? We don’t even pay attention to society and history. What about postmodernism? What we see now is that people seem to not even care about personal value and meaning, and the degree of alienation is even higher. In fact, under the influence of consumerism, we have given up our spiritual world.

 Li | Starting from May and June of this year, the country began to implement the "Qingming Action" and is committed to rectifying the Internet environment and the fandom business model. After this action started, we saw that Weibo’s super chat rankings disappeared and fans could no longer participate in rankings; many illegal accounts were banned; purchase links could no longer appear in posts, etc. But in fact, I have also seen that there are still cases of brushing up entries in Chaohua, covertly encouraging data brushing, purchasing, etc. Fans' online violence has not been significantly reduced, and many minors are still involved. Do you think "Operation Clearance" will have the problem of "treating the symptoms but not the root cause"?

Wang|I even think the superficial changes are very limited. Generally speaking, many popular popular artists are already the boss of a brokerage company, and he is not completely a puppet. In this way, he makes many decisions himself. But these people should be relatively young, and their social experience and understanding of Chinese society are still limited. So what Operation Clearance meant to them, I don't think they fully understood. So in this case, a considerable number of traffic artists have not been able to make substantial changes - they have no other profit model. For them, as long as one day it is not completely banned, they will continue to go down in the original mode. Of course, I think the smarter thing to do is to control your popularity and traffic and reduce your exposure, at least in the near future, which may be safer. But you will find that many of our popular artists do not actually do this - in fact, their parents should be able to tell them what they should do now. For some people, it’s not because he is morally or behaviorally dangerous, but because his model is a high-risk model. We have also seen the central government’s recent interviews with four satellite TV platforms. Because satellite TV is subordinate to the state, the management department’s communication of their management or requirements is direct, detailed, and clear. But for other platforms or economic companies, most of these entities are private capital. From a management perspective, because there is no superior-subordinate relationship, they generally will not issue such clear instructions directly to you. In this case, where has our industry suffered over the years? Even though a big situation has emerged, we don't know how to converge or make adjustments, including this "Operation Qingming". So they may have to wait until something happens, when a coconut falls on their heads, before they can truly change.

 Li | In other words, "Operation Clearance" will eventually deal with private capital such as brokerage companies, right?

Woof|Yes. Because there are still quite a lot of discussions and reports on how to manage and restrain them, and they are all discussing multiple more targeted and effective solutions. The industry has been studying this for several months.

 Li | Do you think the current "Operation Qingming" might be used by fans as a means to maliciously report and attack other fans?

Wang | Every fan of idols believes that "Operation Qingming" is the best opportunity to get rid of their opponents. In fact, everyone thinks so now. Precisely because this circle is very young, they don't quite know how to observe the situation yet.

 Li|You seem to have mentioned cultivating fans’ “autonomous consciousness” before. You hope they can separate themselves from the identity of "female data workers", but this group is not just young and minors who lack independent will, but also includes many college students and high school students, or like a certain person before. There is also a "teachers' group" or a "baby mother's group" among bit traffic artists. In fact, from my perspective, I think they have "awareness of autonomy", but they are still willing to work on data and become the main force of these female data workers. What do you think this shows?

Wang| shows that they have no sense of autonomy. They are still in the culture of this rice circle, which means they lack autonomy and personal judgment. In fact, they are still manipulated by big fans, brokerage companies, and some core people.

 Li | In other words, they think they made the choice, but in fact the choice itself was manipulated. Is this what you mean?

Wang | For example, if you are brushing data to pursue the consistency of an action, and you don’t like everyone having their own ideas, then the data cannot be brushed. He won't say that it's enough just to like the artist. It doesn't matter if you do data or not. He doesn't have such a culture. What is his culture? He competes for resources, roles, endorsements, and bits, because these all represent different advertising prices and involve the commercial value of artists. So these behaviors of fans are all brought about by this culture.

 Li | So, what do you think is the real commercial value of artists and entertainers now?

Wang|The real commercial value is that, for example, if you star in a movie, you can really drive the audience into the cinema and make people choose to watch this movie in order to watch you. But in fact, the box office of Lu H and Xiao Z we saw before was not high. If your box office is only 400 million, it proves that you cannot play a movie that costs more than 100 million. Like Wu Yf before, several of the films he acted in suffered huge losses. He was already top-notch, but he did not create real commercial value. But they are still actors who can sell sky-high-priced dramas. This is because the sales of dramas are to B, there are many manipulations from institutions to institutions, there are a lot of falsifications in broadcast volume and ratings, and advertisers are The settlement was based on this fake data, so the entire process is untrue. Our internal entertainment welcomes this traffic artist model because everything can be manipulated and huge profits can be made.

 Li | So the real commercial value of artists is that Fox is willing to pay money for this and go to theaters to watch their works, right?

Wang|Yes, Shen Teng is an example.

Through the conversation with Teacher Wang Hailin, we learned about the current situation of the screenwriting industry, saw the conflict between the adaptation and originality of works, and the rice circle culture formed under the control of capital. As the problems brought about by commercialization, digitization, and capitalization become increasingly apparent, we all hope that with the intervention of the state, the mainland's film and television industry and entertainment industry can move in a more satisfactory direction.

Written by|Li Jingxuan

Picture|Source network

Reviewer | Nicole

WeChat Editor|Li Jingxuan

mattersedit | sona

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