On September 25, the China-ASEAN Networking Audiovisual Industry Cooperation and Development Forum co-organized by the Development Research Center of the State Press, Publication, Administration of Radio, Film and Television and the Press, Publication, Radio, and Television Bureau of the Guangxi Zhuang Autonomous Region was opened in Nanning. The theme of the forum was “New Silk Road on the Sea.†Space, Audiovisual New Opportunities." Representatives of many political and business circles from ASEAN countries such as Thailand and Malaysia, new media representatives from the central media such as CCTV, People's Daily Online, and International Online, and representatives from several audiovisual new media agencies including Tencent Video and iQiyi attended the conference. Zhu Yannan, director of the Development Research Center of the State Press, Publication, Radio, Film and Television Bureau, released the “China-ASEAN Audiovisual Program Network Communication Report†at the forum. Summary The spread of ASEAN audiovisual programs on China's major video sites is still in the market cultivation stage The audiovisual content of ASEAN countries does not account for a large proportion of the massive video and audio resources of Chinese video websites, and the degree of acceptance by Internet users is not high. However, Thai film and television works are more popular, especially their online audio-visual advertising. Among the ASEAN audio-visual programs introduced in China, movie trailers account for a relatively large number, and young love movies, TV plays, and public service advertisements are more popular. Film and television drama production has focused on six large media organizations, five of which are Thai institutions. China's major video sites have not paid enough attention to audiovisual programs in ASEAN countries Chinese video websites tend to introduce relevant programs through domestic agencies and have not yet formed a dependency on ASEAN television programs. The overall attention of the Chinese Internet users to ASEAN audio-visual programs is not high enough. The user groups are mostly young women, and they tend to watch modern movie themes with strong actor image and strong storylines, and quality idol dramas focusing on youth and women. But the habit of paying for viewing has not yet formed. Audiovisual programs in China spread well in Southeast Asian countries China's audio-visual programs are an important part of the broadcast of audio-visual programs on Southeast Asian networks. The consumption of programs is considerable. The users of ASEAN countries who watch TV shows in mainland China exhibit high education, high income, and low age. The most expensive and well-made ancient costume dramas are most popular, but in recent years, some countries are also very interested in Chinese modern drama. Suggestions for Promoting Cooperative Development of Audiovisual Industry in China-ASEAN Network With Guangxi as the fulcrum, China-ASEAN network audio-visual industry development bases, program translation bases, talent cultivation bases will be built, and the main channels for information exchange and exchange, online program trading, and technical services will be constructed. Cultivate the "China-ASEAN Network Audiovisual Industry Cooperation Development Forum" platform, support the "North Bay Online Network" to expand ASEAN multilingual news dissemination services, set up China-ASEAN network audio-video program cooperation production guidance funds, and promote the characteristics of the country's outstanding cultural network The production of audio-visual programs promotes common culture and mutual understanding. Attachment: China-ASEAN Audiovisual Program Network Spread Report Zhu Yannan (September 25, 2017) In recent years, the production and dissemination of web-based audio-visual programs have witnessed rapid development and widespread coverage. They have crossed national borders, straddled ethnic groups, transcend different cultures, different political systems, and different religious beliefs. They have been deeply influenced by people of all nationalities and regions in all age groups, especially young and middle-aged people. Welcome and love. The more rapid the development, the more necessary it is to maintain a consistent, objective observation, strengthen research, and scientific analysis. Through research and analysis, master the overall situation, grasp the development trend, understand the internal laws, and explore the correct way to open the future. From a global perspective, there are still phenomena of unbalanced communication and unbalanced right to speak on the global, flat, and basically equal information and cultural communication platform of the Internet. Western developed countries and mature countries and regions in the cultural industry have obvious advantages in the dissemination of Internet information and culture. From a certain perspective, it can be said that this is a true reflection of the real world in the mirror of the virtual world. Until today, China itself and most of the ASEAN countries and regions are still in the ranks of developing countries. Although we all have a long tradition of cultural advantages, modern communication is running at a low level. Including the Internet, China and ASEAN countries are still on the edge of the world's communication structure, their cultural influence is not strong enough, their right to speak is not strong enough, and their strength is not strong enough. Therefore, after years of follow-up research, the “China-ASEAN Audio-Visual Program Network Dissemination Report†released by us today may make you feel a little dignified. However, research is to develop, investigate problems, and find gaps. It is to supplement shortcomings and strengths and weaknesses. It is to be problem-oriented, promote supply-side structural reforms, and jointly seek the production and creation of audiovisual programs on the Internet in China and ASEAN countries. Spread new developments and make new breakthroughs. Below I release the main content of the report. Mainly divided into three sections, that is, the main video sites in China to disseminate audio-visual ASEAN programs, Southeast Asian countries, network audio-video program construction and the spread of audio-visual programs in China and the two sides to strengthen cooperation and countermeasures. Section 1: China's major video sites disseminate ASEAN audiovisual programs I. Dissemination characteristics of audiovisual programs in ASEAN countries on major video websites in China First, the number of audiovisual programs in ASEAN countries is still not enough. China's major video sites have yet to improve the on-line broadcast of audiovisual programs in ASEAN countries and the amount of copyrights introduced. The audiovisual content of ASEAN countries occupies a relatively small proportion in the massive video and audio resources of video websites, indicating that the degree of acceptance of Chinese Internet users is not enough. The second is more gratifying is that in ASEAN countries, Thai film and television works are more popular in China. For example, online audio and video advertising in Thailand has a great influence on young Chinese netizens. An important reason is that the creative ideas of audiovisual advertising in Thailand are based on the common emotions of human beings and are more able to impress people. In addition, the cost of introducing Thai film and television works is relatively low compared to European and American dramas and Japanese and Korean dramas. It has unique features in terms of visual aesthetics and style, and it can maintain a certain level of production. Third, movie trailers account for a relatively large proportion. Movie trailers account for half of the total audio-visual programs in ASEAN countries. They are the most important program types in ASEAN audio-visual programs. Fourth, youth love movies, movies and public service advertisements are more popular. For example, in 2015, the romantic drama drama “hunting for love†premiered on Tencent’s video, which recorded 250 million total playbacks. Fifth, the ASEAN film and television dramas spread on China's video websites produced six large-scale media organizations in Thailand and Singapore. Second, China's major video sites and network audiovisual users demand for audio-visual programs in ASEAN countries First, Chinese video websites tend to introduce relevant programs through domestic agencies. For example, Thailand's high-quality video content copyright is mostly owned by Thai TV stations. When the website introduces Thailand's video programs, it is less likely to deal directly with Thai TV stations, and most of them take the form of buying from intermediary companies. Second, China's major video sites have not yet formed a dependency on ASEAN television programs. None of the major video sites has set up a special area for ASEAN film and television programs. The website does not specifically promote the ASEAN film and television works. However, these video sites are actively exploring film and television exchanges and cooperation with ASEAN countries. Third, the overall attention of the Chinese Internet users to ASEAN audiovisual programs is not high enough. The data shows that in 2016, the number of hits for Southeast Asian origins was 1.22 billion. In the selection of ASEAN audio-visual programs, users are more likely to click on modern movie themes with strong actor image and strong stories, and high quality idol dramas based on youth and feminine themes. Fourth, most of the users of audiovisual programs in China’s ASEAN are young women. They mainly watch TV dramas and tend to use mobile devices for viewing. Fifth, it is not very long for Chinese network audiovisual users to watch ASEAN audio-visual programs. In terms of payment, China's major video sites generally adopt free viewing mode for ASEAN audio-visual programs, and the habit of online users paying for viewing of ASEAN audio-visual content has not yet formed. Third, the reasons why China’s major video websites don’t pay enough attention to ASEAN audio-visual programs The number of audiovisual programs in ASEAN introduced by major video websites in China is insufficient, and purchase intentions need to be improved. There are three main reasons: The first is that the business model is not yet mature. From the perspective of profitability, video websites have introduced audio-visual programs with better quality and higher topics, such as British and American dramas, and Japanese and Korean dramas, which can increase platform traffic and the number of paying users. The recognition of ASEAN audio-visual programs is not enough, so there are fewer paying viewers. The second is that the user base has not yet formed. The network audiovisual users are more concerned with the novelty programs that differ greatly from the Chinese culture, as well as television dramas that have been transferred to the Internet after the introduction of television stations. Third, the quality of the program and the content subject matter need to be excavated and improved. Compared with developed countries, there is still a gap in the overall production level of ASEAN audio-visual programs, and translation is costly, which is also an important reason. The second section: the construction of audiovisual programs in the Southeast Asian countries and the dissemination of audiovisual programs in China I. Mode of Content Construction of Audiovisual Programs in Southeast Asian Countries According to the survey of audiovisual programs on Southeast Asian countries’ networks, we observed several phenomena: First, the overseas copyright programs of the Southeast Asian video platform accounted for the majority of the total number of videos. In the aspect of content procurement for website outsourcing, most of them are episodes and movies of European and American copyright, accounting for 67.1%. This is followed by television dramas or shows in Hong Kong, China, accounting for 16.5%. The number of mainland dramas and movies is relatively small, accounting for only 5.8% of the total and about 400. Second, the video library of Southeast Asian video sites can be divided into two types: copyright and broadcast rights only. The former invests in website production, and the latter mainly consists of TV episodes, movies or variety shows that only purchase broadcasting rights. Third, the Southeast Asian network audio-visual content implementation classification system. Southeast Asian countries generally implement a content rating system for film and television programs. Each level corresponds to a corresponding audience. The main purpose of setting up a rating system is to guide young people to watch movies and protect their healthy growth. For audio-visual products that cater to the audience's low-level interest, they will control the expansion of their distribution channels and revenues by restricting the way they broadcast. This approach can be disclaimed and effective, and has a reference value for Chinese counterparts. Second, the demand for audiovisual programs in China in Southeast Asia China's audiovisual programs are an important part of the broadcast of audiovisual programs on Southeast Asian networks. At present, it has three characteristics. First, the consumption of Chinese programs is considerable. ZingTV is the highest-traffic video site in Vietnam. Through a comparative analysis of each of the TV dramas in mainland China, Vietnam, Hong Kong, and Thailand with the highest amount of playback in March 2017, it was found that TV dramas in mainland China had the highest number of broadcasts, which was 27.96 million. The second is that the characteristics of viewing users are "two highs and one low." High education, high income, low age. Users who watch TV shows in mainland China have relatively high academic qualifications. Third, investment in large-scale, well-made ancient costume drama is the most popular category in this market. China's TV dramas, which were introduced successively to Southeast Asia since the late 1980s, were mainly costume dramas. In recent years, some countries have also been very interested in China’s modern dramas. Idol dramas such as “Private Kiss†and “Tear of the Heart Star†have been popular in Thailand. Anti-corruption drama “Black Hole†and “Loyalty†have also been purchased. Over. The third section: China and ASEAN to strengthen the network audio-visual industry cooperation countermeasures I. Suggestions on Broadcasting of Audiovisual Programs in ASEAN Countries in China First, the ASEAN film and television organizations should take the lead to step up publicity. The ASEAN countries’ film and television production and distribution parties may increase the promotion of excellent film and television content in China, and jointly organize online and offline activities with video sites during the broadcast. At the same time, the China-ASEAN Expo and various types of film and television festivals can also be used to recommend the promotion of outstanding film and television works. In addition, we also propose that ASEAN countries' film and television production and distribution parties should actively explore cooperation with China Radio and TV media, build momentum in traditional media, and form a propaganda force with audiovisual websites. Second, ASEAN film and television production agencies should strengthen cooperation with Chinese audio-video sites and create and produce more programs that meet Chinese policies and needs. We suggest that we can co-produce a selection of story materials through various methods such as co-investment, joint production, and joint operations of film and television programs. Third, we should make full use of Guangxi's regional advantages, strengthen cooperation with the Guangxi Radio and TV Department, explore the establishment of a copyright trading cooperation platform, and improve the capacity of ASEAN audio-visual programs. We suggest that Guangxi and ASEAN countries can take advantage of the “One Belt and One Road†initiative to establish a copyright trading platform for ASEAN audio-visual programs in Guangxi, serving as an intermediary and bridge for the exchange of audiovisual programs between China and ASEAN, and satisfying both parties on film and television drama, anime, and variety shows. Copyright content purchase and replacement requirements. 2. Taking Guangxi as the pivot to promote the cooperation and development of China-ASEAN network audiovisual industry For the exchanges, cooperation and future development of China-ASEAN network audiovisual, we have the following suggestions: (1) Using Guangxi as a core base to build geographic support for exchanges and cooperation in the AV industry between China and ASEAN The first is to build a base for industrial development. Actively promote the excellent network audiovisual enterprises in China and ASEAN countries to enter the base, focus on the development of audiovisual and new media industries, create an international digital cultural and creative industrial cluster area for ASEAN and radiation, and promote the cooperative development of the audiovisual industry in China and ASEAN networks. . The second is to build a program translation base. Concentrate translation efforts, cross language barriers, and better serve the ever-increasing demand for the spread of audio-visual programs. The third is to build a talent cultivation base. Promoting domestic first-class universities, research institutes and Guangxi to jointly establish relevant professional fields for ASEAN culture; expand school-enterprise cooperation channels and establish a network audiovisual new media training base. (B) Using Guangxi as the main channel to build a gateway for audiovisual exchange and cooperation between China and ASEAN The first is to build the main channel for information exchange and exchange. Accelerate the establishment of China-ASEAN network audiovisual industry cooperation information exchange and exchange mechanism, and support the establishment of multilingual websites and mobile social promotion platforms in professional fields. The second is to build the main channel for online transactions. The China-ASEAN Film and TV Program Copyright Exchange Center was set up in Guangxi to build an online trading and display platform for film and television programs, and gradually establish an online and cross-border video and TV program network trading environment for online and offline interaction. The third is to build the main channel of technical services. Deepen cooperation with ASEAN countries in the field of high technology. We will increase technical exchanges and cooperation with Chinese companies in the ASEAN countries’ network audiovisual platforms, broadband networks, smart radio and television and other areas. (3) Guangxi should fully play its role and build a bridge for audiovisual exchange and cooperation between China and ASEAN. The first is as an important force for industry exchanges and visits. Relying on the "China-ASEAN Information Port" construction, the "China-ASEAN Network Audiovisual Industry Cooperative Development Forum" platform will be nurtured to encourage and support cross-border financial media joint activities. The second is as an important force for the dissemination of audiovisual new media. Supporting “North Bay Online Network†to expand ASEAN multilingual news dissemination services and launching ASEAN-oriented mobile social network content production aggregation and dissemination services. The third is as an important force for the production of programs. It is proposed to establish the China-ASEAN network audio-visual program cooperation production guidance funds, and focus on the development of the “One Belt and One Road†service and the development of distinctive network audiovisual programs that reflect the excellent culture of various countries, promote the integration of common culture and common people, and drive related industries and fields. The development of exchanges and cooperation. Chinese President Xi Jinping emphasized that China will firmly develop friendly cooperation with ASEAN, firmly support the development and expansion of ASEAN, firmly support the establishment of the ASEAN Community, and firmly support ASEAN in playing a leading role in East Asian regional cooperation. This "four determinations" is a solemn commitment of the Chinese government. The year 2018 marks the 15th anniversary of the establishment of the China-ASEAN strategic partnership. No matter the political background, the policy environment, or the objective needs of economic development, cultural exchanges, and common people, it has created a good opportunity for us to jointly develop and expand our local network audio-visual programs. . We must seize the opportunity, form a consensus, and work together to create a new situation in the creation, production, and dissemination of audiovisual programs on the China-ASEAN network, and to influence and reshape the new pattern of world public opinion to benefit the people of China and ASEAN.
