TV, computer, mobile phone … Which screen do you use for drama?

  Core reading

  In the era of multi-screen, the audience has gained a more stereoscopic experience of watching the drama, and also has more sense of independent choice and self-expression. The interaction is not only between the big screen and the small screen, but also the broadcasting platform will adjust the production, procurement and broadcasting strategies of the new drama according to the audience’s watching behavior and feedback. Although there are still differences in TV dramas between TV stations and networks, with the policy guidance and market reshuffle, online TV dramas are becoming more and more refined, and the platform side has become more rational. Buying TV dramas is no longer just about speed, but more about quality.

  It is a common scene in people’s lives that middle-aged and elderly people watch TV at home and young people use computers or mobile phones to catch up with dramas. "Chasing dramas" has become a key word in people’s lives. Compared with the past, the multi-screen era in which different media channels blend with each other not only provides more ways to follow the drama, but also gives the audience a more three-dimensional experience of watching the drama. In today’s audience’s mind, "drama" is a more accurate and concise name, and their understanding of "drama" is no longer divided into "TV drama" and "webcast drama" because of different broadcast platforms.

  Network integration

  Bring a new experience of watching drama.

  At the 2019 Beijing TV Show Fair (Spring), which ended not long ago, dramas in the era of media convergence developed into high-frequency words of concern in the industry.

  The "Report on the Development of China TV Drama Industry in 2019" released at the Beijing TV Show Fair shows that there were 113 new dramas broadcast by David in 2018, and 260 new dramas were broadcast on the network platform, accounting for more than 2/3 of the total broadcast dramas. The proportion of network-linked dramas is high. Among the top 10 dramas in 2018, there are 7 network-linked dramas, which occupy the mainstream. The broadcast order of dramas on different channels and platforms has also been adjusted. In the past, David was the main position for the premiere of dramas. Since 2018, there have been more and more cases of high-quality dramas being broadcast simultaneously on satellite TV and online platforms, and many popular episodes even chose to broadcast on online platforms first, and then broadcast on TV stations for the second time.

  Yin Hong, a professor in Tsinghua University, believes that the continuous increase of online video users provides a basic premise for the expansion of the online drama market. The data shows that as of December 2018, the number of online video users in China reached 612 million, an increase of 5.8% over the end of 2017; The number of mobile video users reached 589 million, with a growth rate of 7.5%. According to reports, the main force in video consumption is the consumption of online dramas.

  Cui Yanzhen, managing director of Beijing Meilande Media Communication Strategy Consulting Co., Ltd. said that many people thought that the competition and diversion between different channels and platforms were more manifested as integration and collaboration today, and the popularity of any drama series could ignite the interaction between big screen and small screen. "The user’s attention flow between different terminals, omni-channel, all-terminal, all-scene and all-mode communication have jointly shaped the new drama broadcast and communication situation, bringing a new experience of watching drama."

  Many people in the industry believe that with the development of the network broadcasting platform, in the past two years, the audience’s mentality and behavior have changed, and they have more sense of independent choice and self-expression ability. Today, the expression and feedback from the audience may be the core factor that determines the success or failure of a drama.

  In addition, the data shows that dramas with realistic themes are very popular on both TV platforms and online platforms. Cui Yanzhen believes that the production and broadcasting of China’s dramas have entered the new realism era, which has created conditions for a large number of outstanding realistic works to stand out.

  Standardized management

  Improve the quality of webcasting dramas

  Under the background of media integration, webcasting drama is no longer a minority cultural product, and its quality, mainstreaming and popularization have become a trend that cannot be ignored. In order to improve the quality of webcasts and standardize the broadcast behavior of dramas on different platforms, in 2018, "the same standard of TV stations and networks" became the top priority of TV dramas and webcasts management.

  In February 2018, the State Administration of Radio, Film and Television removed several files of online distorted interpretation of classics, vulgar hype, and harmful audio-visual programs. In March, it promulgated the Notice on Further Regulating the Communication Order of Online Audio-visual Programs, and resolutely prohibited illegal grabbing, editing and adapting audio-visual programs; In October 2018, the State Administration of Radio, Film and Television again issued the Notice on Further Strengthening the Management of Radio, Television and Online Audiovisual Literary Programs, demanding that idolize’s unhealthy tendencies such as star speculation and pan-entertainment be resolutely curbed, and that the same standards and scales be adhered to, and that the falsification of ratings (click-through rates) be resolutely cracked down. The introduction of these policies has greatly promoted the quality of webcasting dramas and standardized the market order of drama production and broadcasting.

  However, some practitioners believe that despite the constant emphasis on "the same standard for networks", the differences between networks still exist. "Satellite TV is a public resource, and public resources have a qualification in terms of posture and type. Not every drama can be broadcast on satellite TV. Sometimes, webcasts can be broadcast as long as they meet the minimum standards of TV dramas, and if they want to be broadcast on the stars, they must meet the highest standards, so there are still differences between the networks. " Yin Hong said.

  Cui Yanzhen observed that in terms of word of mouth, the overall quality of webcasts has indeed improved in recent years, and many of them have reached the level of TV dramas. "After several years of standardized management and market reshuffle, the quality of webcasts is gradually improving, which is also the basic law of the development of Internet forms. It is necessary to give guidance to the development of new cultural forms for a certain period of time, which is also in line with the basic law of all artistic development."

  "For a long time in the past, several major video websites mainly purchased dramas to broadcast, and there were many problems. However, in the process of simultaneous broadcasting with Satellite TV, we also accumulated some valuable experience." Zhang Lina, editor-in-chief of Alibaba Entertainment Youku, said: "When choosing content, we should not only pursue the speed of spelling, purchasing and scheduling, but also be more rational. Paying attention to the quality of the drama itself, especially the quality of the script, occupies an increasingly high weight in our choice. "

  enormous data

  Provide reference and reference

  Cui Yanzhen believes that 2019 is a key node for China’s media integration to enter a substantive advancement. In this context, the production, broadcasting and viewing of TV dramas and webcasts in China will usher in brand-new energy and scenes.

  "Broadcasting is a very important link. With the emergence of more and more original and self-made online content, the online platform has more space for broadcasting." Ge Chengzhi, president of the Institute of Iqiyi Data, said: "The TV platform is continuously broadcast, and only one drama can be broadcast at a time. However, there may be three or four dramas broadcast online on the Internet every day. Among them, it is very important to publicize and promote which ones should be emphasized and which ones should be appropriately reduced or increased."

  Compared with TV stations, the biggest advantage of the Internet platform is the massive data collection background. Through data analysis, the audience can be accurately portrayed, and the production, procurement and broadcasting strategies of new dramas can be formulated according to their behavior preferences. "For example, the TV series" Everything is Fine ",which links young users like, which links old people like, the user’s word of mouth and interaction, and even the interaction and reflection of this drama with users of similar dramas before, can provide creators with more reference and reference." Ge Chengzhi said.

  Yin Hong believes that the core of big data is to record massive interactive behaviors, which is different from a large amount of data in the past statistical sense. He said that the new media that produces big data has two distinct characteristics from traditional media: one is peer-to-peer communication, and the obtained data can understand the consumption characteristics and behavior patterns of different end users; Second, different from the traditional media’s emphasis on the linear spread of coverage, the point-to-point spread of new media is characterized by connectivity. When a piece of information is valuable, any point can continue to spread to countless points, and countless points can continue to spread more. This way is characterized by the penetration of information and the regenerative power of communication. These two features can help the platform and creators solve three problems: finding different audiences, finding different needs of audiences, and finding the most appropriate expressions for these different audiences and different needs.

  At the same time, people in the industry also stressed that in the field of literary and artistic creation, data can only be used as a reference forever, but not as a benchmark for creation. "It can never be the only criterion for judging the quality of a work, or even the most important criterion. Therefore, no matter the creation or broadcast platform, you can’t be a slave to data. " Yin Hong said.