The Hot IP Drama Implies Hidden Worries | WeTV

Category : Entertainment
Posted By : MMOgamefans
Posted Date : 10 May 2021 04:42 hrs

A few days ago, after Tencent PCG announced structural adjustments, Tencent's film and television territory is gradually expanding outward. Its subsidiaries Tencent Pictures, Xinli Media, and Reading Film and Television, as well as other platforms, have jointly woven a Tencent film and television blueprint. The creation of IP dramas has become a major weapon for profit growth. On the exclusive broadcast platform, the IP drama "My Heroic Husband", with Wenwen as one of the producers, also ranked first in the overall list, the hot search list and the TV series hot list, with numerous WeTV VIP Accounts users.

Cheng Wu, vice president of Tencent Group, CEO of Tencent Pictures, and CEO of China Reading Group, once said: "Film is no longer an isolated emotional carrier, it will no longer be an isolated experience, and its value is no longer limited. At the box office, through the synergy of multiple IP operation methods such as film and television, literature, animation, games, derivatives, etc., a comprehensive release will be achieved, forming a scale of entertainment consumption that far exceeds the current entertainment consumption scale-this is also the trend of pan-entertainment."

So, where does Tencent Pictures stand in the film and television drama market? Will Tencent increase investment in IP dramas? A reporter from "China Times" sent interview emails to the official mailboxes of Tencent Group and Tencent Pictures, but as of the time of publication, no response has been received.

IP dramas such as "Nirvana in Fire", "Scarlet Heart", and "Chinese Paladin: Sword and Fairy" caused a whirlwind of film and television. Clever use of IP and creating IP dramas are not flawless while making profits. With the popularity of IP dramas, hidden worries such as "lack of originality" and "lack of market stamina" have also emerged behind it. Director and screenwriter Tong Wenfeng told the reporter of China Times that the current domestic film and television market is chaotic, with low degree of specialization, coupled with large fluctuations in film policies and uncertainty, and the prospects for film and television development are uncertain.

At the same time, the external output capability of China's popular film and television IP also needs to be improved. Senior media person Zhu Linyong told our reporter that the sign of the maturity of China's IP drama creation is that it has its own mature value system and can be exported to a wider area. "For now, the international dissemination of Chinese IP dramas still has a long way to go."

In fact, there are multiple interactive entertainment business platforms in Tencent's film and television system. There are not only IP sources such as China Reading Group and Tencent Animation, but also platforms such as Tencent News and Tencent Video that provide communication media, as well as Penguin Television and Tencent Film. The film and television self-manufacturing capabilities of the industry, they together form the pan-entertainment matrix of Tencent’s film and television territory.

With the gradual formation of Tencent's pan-entertainment matrix, the "three carriages" in Tencent's film and television territory, namely Tencent Pictures, Xinli Media, and Reading Media, are gradually releasing their own energy.

Even if it is standing on the air outlet of IP, Tencent Pictures wants to open up the film and television development channels, and undertake the development of games and derivatives downwards. It is difficult to imagine the difficulty of putting eggs in a big basket.

On the surface, many IP dramas are superior to non-IP original dramas in terms of the degree of "friendliness" of the content, the degree of exposure and promotion of the film, and the length of the entire life cycle. Some IP dramas almost occupy the first and second positions on TV drama charts or movie charts during the broadcast period on the platform for the entire film screening period. Therefore, there has also been a saying that IP dramas have squeezed the living space of non-IP original dramas.

However, IP dramas squeeze the living space of non-IP original dramas, and it does not mean that IP dramas are winners. Zhu Linyong told our reporter that the "squeeze" is not due to the IP drama or non-IP original drama itself, but because the platform is not diversified enough. "There are no more platforms to meet the audience's different viewing needs, which is the hidden worries and problems behind the IP boom."

Of course, film and television dramas not only need to diversify the platform, but also need to improve the quality requirements of IP dramas and non-IP original dramas. Tong Wenfeng emphasized that the cultivation of film and television talents is essential. "The U.S. has a much smaller population than my country, but every year there are many new and old film festivals, film exhibitions, and many youth film festivals. They focus on cultivating young people and minors to become film and television directors or filmmakers from an early age. Various incentive policies, such as tax exemption, also have more incentive policies for newcomers. The development of my country's film festivals is lagging behind, and the mechanism to encourage the development of new filmmakers is insufficient, causing many talented filmmakers to change careers."

In any case, Chinese IP drama creation has entered a new stage, and its maturity is marked by having its own complete system and successfully exporting to a wider area. Zhu Linyong pointed out that China's current export of film and television works is limited, mainly exported to the East Asian cultural circle, such as "Han Zhu Ge Ge" to Vietnam, etc., and the audience of exported films is often Chinese. "The international dissemination of IP dramas that are very popular in China still has a long way to go."

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