"SAIC Group?" After hearing the news, Fan Wubing shook his head and said, "Forget it, no matter them, you can continue to negotiate with the sticks. The conditions must be harsh. Even if we can't get the cheaper, we must spread the information, which will ruin their reputation."

Wu Zhi agreed, but was a little surprised. He consciously leaked the negotiation content and relevant conditions, which seemed a bit unethical from a purely commercial perspective. However, since Fan Wubing told him to do so, there must be his reason.

"SAIC Group--" After Fan Wubing launched a video call, he rubbed his temples and thought about it. It seemed that SAIC Group had reached an acquisition case with Shuanglong Auto. Not only did it successfully acquire, but it also controlled more than half of its equity and became the controlling shareholder of Shuanglong Auto.

But they didn't expect that Koreans were so difficult to deal with. South Korean auto unions were even less expensive and invested more than one billion US dollars in one go, but they did not see any reward. They also made Bangzi accuse them of stealing their automobile manufacturing technology, which made it very embarrassing. In the end, Shuanglong Automobile was unable to make a comeback, and SAIC Group had to end up in disgrace.

I asked Wu Zhi Xiaoji to negotiate like this and leaked some specific information. It was nothing more than unwilling to make Chinese companies that were fascinated by the acquisition and think that they could be foreign bosses, and they could promise other people's conditions at all costs, and in the end they were as embarrassed as a fool.

As for Shuanglong Auto, there is nothing wrong with making it rot into a pile of stinky dog ​​shit. With the typical island mentality of the sticks, it is worth losing.

Although Fan Wubing despises the Bangzi, many people in China obviously don’t think so. When Fan Wubing turned on the TV, he found overseas theaters that were originally monopolized by Britain, the United States, Japan and other countries. At this time, there were already a large number of Bangzi dramas, and the ratings have repeatedly hit new highs, which is really incredible.

Fan Wubing asked Xia Donghai's New Silk Road Entertainment Company to analyze the popularity factors of Korean dramas and still came to some conclusions. What is ridiculous is that the formation of Korean wave is actually related to this Southeast Asian financial crisis.

In addition to the economic decline, the impact of the Asian financial crisis on South Korea also has the soaring unemployment rate. One of the results is that writers can write at home without much pressure. As the career and economic downturn, the unemployed audience at home also adds motivation to the film and television culture that needs to waste time. Therefore, the exhibition of Korean TV series can be said to be a hotbed of Korean film and television culture during the economic downturn.

Especially in the past two years, the Korean wave whirlwind, which uses pop music, video game industry, clothing, catering, animation, and film and television as the main carriers, has swept across Southeast Asia. Korean dramas, as the well-deserved main force of Korean waves, have gradually evolved from a spark to a prairie fire.

Hot, myth, oriental gods, superjunior and other idol combinations with youthful spirit as their main characteristics are one after another. Mobile phones represented by Samsung and 1g are still popular in the Big 6. Korean clothing has become a symbol of the new generation of women's pursuit of trends, and Korean kimchi has become the leader of the kimchi family. Even the seaweed rice dumplings that were unheard of before, Korean bibimbap has become a trendy color due to people's rush toward one's yearning.

When the Asian financial crisis hit South Korea, South Korea suffered a heavy blow. In addition, due to its limited territory and sparse population, South Korea's domestic market has a relatively weak open potential. Therefore, the South Korean entertainment industry had to turn its attention to neighboring countries and shift its economic focus from saving the South Korean economy with information technology industry to revitalizing the South Korean economy with cultural industry.

The countries around South Korea have a wide range of entertainment systems, and Hong Kong and Taiwan are also places where entertainment artists are dense. Due to historical reasons, the local entertainment market in Da6 seems extremely weak. Basically, the dishes are all covered with dishes, and there is nothing to be picky about. Therefore, the Korean entertainment industry has set its main focus in mainland China.

Since Korean dramas opened a gap on CCTV, since CCTV's second set broadcast "What is Love" in 1997, this trend has become more and more unstoppable. Then Korean dramas such as "First Love", "The Boss of the Bathhouse", "Watch and Watch", "Miss Mermaid", and "Yellow Handkerchief" have been broadcasted one after another, which has aroused strong reactions from the audience, and overseas theaters have almost become the special show of Korean dramas.

Korean clothing, catering, music, video games, variety shows and entertainment driven by the Korean film and television industry have jointly set off a wave of Korean wave in China's Big 6.

The cultural intercourse between China and South Korea began in the Spring and Autumn Period. By the Tang Dynasty, Confucian culture represented by Confucius and Mencius was introduced to Korea. The Analects of Confucius, Mencius, Spring and Autumn Period, and Shangshu became Confucian classics for them to improve their own cultivation. This Confucianism with the Eight Virtues of Confucianism as the core was passed down from generation to generation in Korea, and its preservation was even surprising to us local people.

On the other hand, the components of traditional Confucian culture in Chinese culture have become less and less since the Ming Dynasty. Coupled with the "overthrow of Confucius" and the "Cultural Revolution" during the May Fourth Movement period, while establishing new ideas against feudalism, it also seriously hit the excellent traditional culture of the Chinese nation. The status of Confucian culture plummeted, and classic books were discarded as feudal dregs.

So today, Confucian culture went abroad and was counter-sold to us by Korea, and the sales process was smooth and unimpeded. One of the reasons why Chinese audiences are so easy to accept Korean dramas is based on the common psychological basis of Confucian cultural thought. Because the moral standards of 1un are similar, under the same moral requirements, the possibility of the audience being impressed by the drama becomes greater.

In contrast, the Chinese cultural market seems to lack vitality and is the same.

The historical drama always shows that the royal family members do not hesitate to fight for the throne, the concubines in the harem fight for favor and the throne, and the family dramas are always conflicts, and if there is no conflict, there will be no stories, and eternal binary opposition.

In emotional dramas, after the wind of Qiong Yao's tears dramas in the past few years was blown away, the emotional theater seemed to have lost its backbone, and seemed to be at a loss. Today's domestic emotional dramas are full of color and desire, and one night, the third party has become a necessary factor in the drama. Whether it is historical dramas, family dramas or emotional dramas, most of which interpret the cruelty of reality and the hardships of fate. Even comedy can only be a smile with tears after suffering bitterness and hardships. While interpreting reality and educating the audience, it also gives them invisible pressure on life, making it difficult to achieve the true purpose of film and television entertainment for relaxation and entertainment.

In this case, Korean dramas with ease, liveliness, warmth and fashion as their main characteristics become the choice of audiences, and it is not surprising that the phenomenon of Korean dramas arises.

Moreover, Korean dramas have their own unique features in production. They write, shoot, act, produce and sell themselves, how many actors play, how long the story plot, and how the story ends are all determined by the public through voting activities.

Generally speaking, after completing the planning plan for a new TV series, Korean film and television production companies do not immediately devote themselves to the creation of their works, but first look for TV stations with high ratings. After being recognized by any of them, the screenwriter began to write the story outline and the scripts of the previous few episodes. Before filming, they did not need to write all the scripts, and even the story outlines were not required, which avoided the possibility of doing useless work because the play was not adopted.

For example, generally speaking, a story summary of about ten episodes and a script of four to six episodes will be written in advance. Before the broadcast, a complete film of four to six episodes will be produced. After that, the script will be written, filmed and broadcasted.

When a few episodes of the TV series are filmed, the screenwriter will discuss with the audience through a discussion, or establish an official website of the TV series to allow the audience to provide timely feedback. The actor's role is increased or reduced by the audience's preference. If the actor is popular and popular, he will increase his role, otherwise, his role will be reduced.

Sometimes, after the screenwriter writes outlines of the drama and the scripts of the previous episodes, the audience will also be asked to vote for the male and female actors who are most suitable for the roles in the drama.

In addition, the number of episodes of TV series is not pre-set, but is determined by the ratings. TV series with high ratings can be continuously lengthened, while those with low ratings will end hastily.

Also, the playwrights will adjust the direction of the plot and the fate of the characters according to the audience's feedback and according to the audience's request, and determine the ending of the story based on the audience's wishes. For example, in a film, the fate of the hero was originally killed in a car accident, but most viewers could not accept this tragic ending and asked the screenwriter to resurrect the hero. So the screenwriter asked the hero to come back to life as another character, return to the play in an amnesia, and continue the plot's exhibition, but unexpectedly achieved very good results.

Since Korean TV dramas adopt the self-production and self-sale method of "write and sell now" and "sell now" while writing, filming and broadcasting, the screenwriter goes from the initial drafting of the outline and writing the scripts of the previous episodes to the continuous writing of the scripts based on the audience's feedback, and adjusts the direction of the story to cater to the maximum extent. The screenwriter's participation throughout the process is also an important factor in the popularity of Korean dramas.

After a thorough discussion on this Korean drama phenomenon, Fan Wubing and Xia Donghai and others thought that they also needed to do something, otherwise the domestic screen would be monopolized by Bangzi dramas, and Yang Yang would be disappointed to go to China.

However, Fan Wubing put forward his own suggestions to create Chinese people's own urban blockbusters and family life films. The most important thing is to launch his own fantasy blockbusters in time.
Chapter completed!