Summary of Key Points
This news article focuses on the transformation and perseverance of the domestic drama industry: amidst the impact of micro-series and AI technology, Chinese dramas have evolved from mere artistic works to comprehensive entities that integrate culture, tourism, consumption, and cultural dissemination. Creators use traditional, time-consuming methods to pursue authentic details, maintain narrative tension in the era of short videos, and break down cultural barriers through emotions that resonate with ordinary people, enabling Chinese dramas to successfully go global and become a cultural ambassador for China.
1. Dramas Go Beyond Being Just Stories: From Entertaining to Driving Entire Industries
In the past, watching dramas was simply for enjoyment; today, a good drama can drive an entire industry. For example, “Go to the Windy Place” has boosted tourism in Dali, while “Taiping Year” has increased revenue in Zhejiang’s cultural and tourism sector. “The Lead” not only popularized Qin opera (with related indices rising by 1031%) but also doubled the sales of the original novel, generating 36 million yuan from Hui ink文创 products and opening 600 physical stores with over 20 brands. These cases show that dramas are no longer isolated works but have become engines that activate various sectors such as culture, tourism, intangible cultural heritage, and consumer goods, serving as a link between culture and the economy.
2. Creators’ “Traditional Methods”: Touching Hearts with Authentic Details
Behind successful dramas are creators who refuse to take shortcuts. For instance, the crew of “The Age of Awakening” transported over 10 tons of soil from Zhangjiakou to recreate the old Beijing landscape; actors were deeply moved by the atmosphere of the historical setting. “Taiping Year” produced 8,000 sets of costumes for the Five Dynasties period, with the crown of the King of Wu-Yue being refined based on museum artifacts, and the armor was made from real materials (which even changed the actors’ walking styles). The writer of “Sheng Wuanwu” revised the script eight times to capture the simple emotions of farmers—these traditional methods are not a waste of time but help audiences connect with the story’s authenticity. For example, in “Sheng Wuanwu,” when the farmer expresses love as “heartache,” it resonates with younger viewers.
3. Unfazed by the Short Video Era: Slowing Down Can Still Attract Audiences
While short videos have made people accustomed to quick, straightforward content, longer dramas have won praise for their depth. In “Taiping Year,” the protagonist doesn’t appear until episode 14, yet this approach is seen as a sign of creative confidence. The director emphasizes that speed is not the key; what matters is the narrative’s tension—just like a 20-minute slow shot in a movie that holds the audience’s attention every second. In “The Lead,” the female protagonist doesn’t appear in the first 14 episodes, yet internal tests showed high viewer retention rates because it targeted the right audience for this type of storytelling. The industry has now eliminated unnecessary content, allowing creators to produce more substantial works by determining the length based on actual needs.
4. Chinese Dramas Going Global: Breaking Cultural Barriers with Universal Stories
Chinese dramas are increasingly reaching an international audience. “Taiping Year” has been translated into 11 languages and viewed over ten million times on YouTube; “Jiaye” topped the top charts in 13 countries, and iQiyi’s international Chinese content has seen a 114.5% increase in views. Unlike before, when they relied on Eastern symbols like dragons and kung fu, current dramas connect with overseas audiences through universal human emotions. For instance, “Taiping Year” explores the desire for peace, while “Jiaye” highlights the importance of cultural heritage—emotions that transcend borders and show a genuine, warm side of China.
5. A Space for Young Creators: Mid-length Dramas as a Survival Niche
Young creators face challenges in the industry: they can’t afford to produce long dramas, and short series are not considered sophisticated enough. Professor Zhang Wei from the Beijing Film Academy believes that mid-length dramas (12–24 episodes) offer a viable option for young creators, as they don’t require significant investment while still allowing for a complete story. She argues that giving them opportunities is essential to prevent talent from drifting to the gaming industry and ensure the industry’s future success. This indicates that Chinese drama is still evolving, providing space for new generations of creators to grow.
Conclusion
Chinese dramas are adapting to new trends, balancing innovation with traditional methods, and creating a viable niche for young creators. They are breaking down cultural barriers with stories that resonate globally, presenting a true and compelling image of China to the world.