March 29, 2024

Internet + TV: It's too hard to assert



In 2015, the development of the network drama has seen a lot of things to watch.

Youku Tudou more closely approaches the specifications of TV in terms of content production and production;

Iqiyi is ready to take the elitist route in its self-control strategy. It will focus on opening up the "super-net drama" represented by "The Tomb Notes" and even declare that it will not be capped on investment, and strive to make 2015 become the outbreak of cyber drama;

Sohu Video is committed to creating a brand image of “Looking at US TV shows to go to Sohu Video and watching self-made dramas also go to Sohu Video”.

Tencent's video continues to be a big production route in its self-control strategy. Whether it is a co-star, a director, or a film and television production company, it will be dominated by the first line.

Super variety is the main direction of Tencent video in 2015, centering on the principle of quality and large production, pushing up the industry's competitive threshold.


At present, the TV drama market has a lot of barriers. In particular, SARFT's restrictions on the type of TV drama shooting and the implementation of the “One Play Two Stars” policy by David from 2015 onwards have directly led to the shrinking of the broadcast platform and the increase in the price of single episodes. , attracted the traditional film and television industry have come to the network drama market "scratch", and even the network drama as the focus of the next development.

Network dramas that have continued to thrive are never kept old and are unsettled by the status quo. They are maverick existences. According to Wang Duo, CEO of Bodomedia, “Net drama represents a new generation and is not subject to too much restraint. Unlike the limited content of TV stations, the possibility of trial and error is very low. The content of video websites is almost unlimited, which gives The industry has more experimental space to challenge new things."

The traditional drama market in the country looked at it at first glance, full of a large number of urban emotions, anti-war, idol dramas, and watching it for a long time was tedious and monotonous. In contrast, the subject matter of the drama is quite extensive.

From the first half of this year, horror suspense, fantastic fantasy, detective reasoning, funny humor, time-space crossing, and passionate inspiration are involved.

Among them, "humorous humor" accounted for half of the network drama theme in the first half of the year, but the number of detective reasoning and horror suspense stories has increased, and more "fantasy comprehension" drama. In "urban life," which accounts for the second highest percentage, niche topics such as "food" and "children" appear. There are 11 "commercial custom dramas", and there is also a new type of "custom made drama by the government" that is quite eye-catching - and these are almost all areas where traditional TV dramas can't do anything but have an audience, and they are often the most inspiring. The ambition, desire and imagination of the person.

At the 2015 Shanghai TV Festival, the Director of the Department of Network Audiovisual Program Management of the new SARFT Administration stated in the keynote: “The traditional media does not allow broadcast content, and new media are not allowed to broadcast. Content encouraged by traditional media is new. The media is even more encouraged... Some people are not only less vulgar than previous works, but also have a fluke, and they have to play a game of policy. This is a manifestation of social responsibility."

To a certain extent, this can be used as a signal for SARFT to strengthen the supervision of online media content. In the past, most of the online dramas were eye-catching in terms of breaking through traditions and blazing new trails in themes and themes. The possible changes in the future will eventually make this development path unsustainable. If network dramas do not want to become short-lived, they must pay full attention to policy orientation and embark on the "right path" of content as early as possible.

On the whole, the status of the current online drama in the film and TV drama market is still not the same as the traditional TV drama. As can be seen from the rankings of the TV dramas on various video sites, the majority of the top positions in the TOP list of clicks are still traditional TV dramas, and online self-produced dramas that can create topics and provoke buzz are also rare. If a network drama wants to divide its sphere of influence with traditional television dramas, I am afraid it still needs to go through more in-depth and long-term development.

Internet logic has become the operating system of the media industry. This operating system defines the boundaries, framework, and operational space for the future development of the media industry. Any people, institutions, and things that do not embed this operating system will gradually be eliminated by this era.

For the traditional media, the Internet does not have an advantage. Internet giants such as Alibaba, Tencent and Baidu have taken control of various entrances and channels. Traditional media also occupy certain opportunities in terms of content, whether it is information collection or content production processing. Still released, has formed a series of norms, its professionalism, authority influence is difficult for amateur producers to replace.

If we can integrate the inherent advantages of traditional media with the advantages of new media, it is self-evident that the strength and credibility of self-dissemination increase.

Traditional media can use the free information to divert and cooperate with Internet companies that have more entrances and channels to open up information portals and scene entrances to help both parties maximize their commercial value and social value.

At present, in the Radio and Television Group, there are only a few internet programming centers that operate in accordance with the operating methods of Internet companies. They widely invite people from both inside and outside the system to join in. On the one hand, they have traditionally networked televisions, and at the same time have customized some online communication programs for the Internet.

The road ahead is still difficult to assert, but this attempt is worthy of recognition. If the TV media can bravely put aside its position, take the initiative to move closer to the Internet, focus on attracting fresh blood, and seek multiple opportunities for cooperation, it will win more possibilities for its own Internet+. .



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