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中国电视产业普遍缺乏创造性

中国电视产业普遍缺乏创造性

分类:资讯   更新:2014/4/28   来源:网络

中国电视产业普遍缺乏创造性

Korean influence goes deeper than shows that speak Korean. The biggest runaway hit in reality programming, Dad, Where Are We Going?, is not an original Chinese show. Its format was licensed from South Korea although not many in China are aware of that fact. The tentacles of Korean creativity go into every corner. 韩国对中国的影响远远不只韩语电视节目。热播的真人秀节目《爸爸去哪儿》不是中国原创。它的版权是从韩国引进的,尽管很多中国人并不知道这一事实。韩国的创意触角伸向了中国的每一个角落。
    中国电视产业普遍缺乏创造性
    Chinese television series producers need to up the ante to ward off competition from South Korean soap operas.
    中国电视剧制作人需加大筹码以抵御韩国肥皂剧的侵袭。
    Soap operas from South Korea have been popular in China for two decades now. So, it is not the first time domestic fare has paled in comparison. But this time, the one-two punch from The Heirs and My Love From the Star really hurts, ahem, our self-respect-to the point that it turned into a topic for chatter at the annual two sessions where policy-makers and top advisers usually discuss less fluffy issues.
    至今,韩剧已在中国风行了20年。因此,这已经不是第一次国产剧与之相比大为逊色了。但是这次,遭受《继承者》和《来自星星的你》接二连三的打击确实伤害了我们的自尊心。这种打击严重到成为一年一度的两会议题。而两会通常是人大代表和政协委员们商讨大事的地方。
    A senior official freely admitted to being an occasional participant in the vast club of Korean soap watchers. It has also been reported that he follows House of Cards, an American political thriller that would understandably fascinate him. His remark opened the floodgate of kvetching about why we are falling behind in the creative industry.
    一位高级官员坦率地承认自己偶尔也加入韩剧迷大军中。据报道,他同样也在追《纸牌屋》。他被这部美国政治惊悚剧所吸引也是可以理解的。他的言论也打开了人们抱怨的闸门:为什么我们在文化创意产业方面如此落后。
    Most seem to agree that, given some content restrictions, China's television industry is not capable of producing something like House of Cards, which is very dark and fraught with conspiracy. But there is a concern about our inability to make something as innocuous and entertaining as My Love From the Star, a Korean love story about a time-traveling professor and a tantrum-throwing movie star.
    大多数人似乎认为,鉴于一些内容的限制,中国的电视产业不能够制作出像《纸牌屋》一样,充满黑暗与阴谋色彩的电视剧。但是,人们同时对中国电视产业的无能表示担忧:中国为什么不能制作出一些像《来自星星的你》一样既无伤大雅又娱乐大众的作品。这部电视剧讲述的是一个穿越时空的教授与一个脾气火爆的电影明星间的韩式爱情故事
    Korean influence goes deeper than shows that speak Korean. The biggest runaway hit in reality programming, Dad, Where Are We Going?, is not an original Chinese show. Its format was licensed from South Korea although not many in China are aware of that fact. The tentacles of Korean creativity go into every corner.
    韩国对中国的影响远远不只韩语电视节目。热播的真人秀节目《爸爸去哪儿》不是中国原创。它的版权是从韩国引进的,尽管很多中国人并不知道这一事实。韩国的创意触角伸向了中国的每一个角落。
    "I'm all for the easing of restrictions, but showbiz in China lacks the professional basis for making television series of this kind of quality," wrote Gao Qunshu, an outspoken filmmaker, in his microblog. He didn't go into details.
    “我很支持放宽限制,但是中国娱乐界缺乏制作这种高质量电视系列节目的专业基础。”高群书,一个直言不讳的影视剧导演,在他的微博中写道,但他并未细说。
    Personally, I don't see much difference in production values between, say, My Love From the Star and some of the top shows from China. Despite the genre of romance, the former does not feature steamy sex scenes, which might have made the show difficult to get past censors. It took 10 episodes for the lead couple to have an on-screen kiss.
    在我看来,《来自星星的你》和中国某些热播节目制作价值差别不大。尽管是浪漫爱情题材,但前者并没有出现难以通过审查的性爱场面。男女主角的屏幕初吻也是在第十集的时候才出现。
    The narrative element of time travel could be problematic because science fiction, like fantasy, is often viewed with suspicion in China. It is argued that viewers in less educated circles might not be discerning enough to infer the things portrayed on screen are not possible in real life and therefore should not be imitated at home. This could have been true half a century ago, but it seems condescending now that the whole nation enjoys a nine-year mandatory education and few adults, if any, would blur the line between fantasy and reality on screen.
    穿越时空的叙事元素可能成问题,因为在中国,像奇幻片这样的科幻作品常常遭到人们的质疑。有人认为,受教育程度低的观众可能不具备足够的辨识能力去判断屏幕上塑造的东西在现实生活中是不可能实现的,因此不能在家中模仿。这在半个世纪前可能是对的,但现在这么说的话似乎过于贬低自己。现在全国都实行九年义务教育,即便有的话,也是极少数成年人才会分不清屏幕中的现实与虚幻。
    Judging from Chinese shows in recent years, time travel is not strictly forbidden, but allowed when it is used as a background and handled with kid gloves. A spate of palace dramas is built on the premise that the female protagonist is transported from contemporary times back to antiquity, playing the game of a damsel in distress and a real prince coming to her rescue.
    从近几年中国的电视节目来看,穿越题材并未被严格禁止。把它当做背景并谨慎处理时是被允许的。一系列的宫廷剧就是以女主人公从现代穿越到古代为基调,讲述一个落魄少女与一个英雄救美的真命天子之间的故事。
    US and British television shows enjoy a somewhat exalted status in China, but their audience size is more limited due to their relatively unfamiliar culture and fast pace. Although there has been a sporadic effort to duplicate some of these shows, with a

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