Korean films have routines, and there is no insurmountable gap between Chinese and Korean films

In recent years, some of our best domestic crime films have not only completed the necessary details, but also have their highlights as domestic crime films. From this perspective, there is no insurmountable gap in genre films between China and South Korea.

Original title: South Korean films are frequently produced. In fact, there are also "routines"

. In the first two months, there were two South Korean films that impressed people. One was "Journey to Busan" and the other was "Tunnel". While these two Korean films received various favorable reviews, they opened up a topic that has been repeatedly discussed in recent years. That is, are Korean films so good, are they far ahead of us? He has graduated from Hollywood, and we are still focused on tomb raiding and treasure hunting?

Channels: Nothing that enters our horizons will be too bad

. A very direct answer is: Because they can attract widespread attention in our country and cause you to watch them through various channels, they are already part of the higher-quality ones. This is the result of presentation, but the process and channels of presentation also have an important impact on the result.

Why do we always like to discuss Korean films today and not Indonesian, Vietnam or Burmese films?

On the one hand, you won't see these, on the other hand, you won't see them. Because they are so-called "non-mainstream", because people inevitably feel a sense of substitution when watching film and television works, and because Koreans have similar looks and cultural environments to us, they naturally feel less distance when substitution.

The Internet is indeed a good thing. In the era of "big data", the Internet easily captures and is keen to disseminate relatively well-produced Korean films, and some related positive impressions are constructed in this way.

Are Korean films generally excellent? Naturally impossible, but what is presented in our sight is often not too bad.

Hard indicator: If they want to be written into film history, they still need to rely on economic foundation.

Korean films are now like early American and Japanese films, which are gradually becoming mainstream in the eyes of Chinese people. This, like its cultural industry, including TV dramas and variety shows, thrives because of the high degree of freedom in the market. In the early days, books related to world film history that were generally considered classics did not include South Korea. Did Korean films start late? No, just because it was not mainstream enough in the past. Americans and British wrote film history without playing with it.

Almost all research books on Korean films date from the 21st century, and they always like to accompany the word "rise" in their titles. The end of the 20th century and the beginning of the 21st century are by far the most important years in the history of Korean film. Today, we can feel that Han films are more and more beautiful, which is inseparable from the background of the times, a series of specific events and subsequent government measures.

The famous Asian financial crisis broke out in 1997. However, due to a series of pragmatic measures taken by the Kim Dae-jung government at that time, South Korea's economy not only recovered rapidly, but also developed into a new situation. It can be said that the "Hanjiang Miracle" is directly related to the prosperity of a country's film industry.

From 1998 to 2003, South Korean President Kim Dae-jung used film policy as a powerful means of running for president. At that time, he clearly stated in his campaign platform that "the film quota system will continue until Korean films account for 40% of the domestic film market." This is the famous film quota system, which is a mandatory regulation made by the South Korean government to protect its own films.

Although South Korea cut its local protection quotas in 2006 due to pressure from the United States, there was no such situation as South Korean films slumped and Hollywood films dominated the screen. South Korean local films still have a certain competitive advantage in the country's film market. It can be seen that whether a quota system is implemented or not, in the final analysis, they still need to improve their own production capabilities.

Cultural atmosphere: Patriotism will not be ridiculed by the public. In addition, it is

also worth mentioning the cultural atmosphere of Koreans themselves. After the release of "Life and Death", the media were not allowed to carry out negative reports. Failure to go to the theater to watch certain films would be regarded as "unpatriotic"-these will probably be ridiculed in today's domestic media context, but at that time it did create a suitable soil for the growing prosperity of the film industry in the future.

When we talk about how good a movie is, we always can't do without its plot and actors. The above content ensures the production of its plot to some extent. Actors are also a product of the entertainment industry, and we are far behind.

"There are mentally retarded fathers who were inseparable from their daughter after being imprisoned, Curtis who led the lower-level foundation to resist the superstructure, Jin Naijing who saw the situation in the torrent of history, Biao Zongsheng who saved the country and saved himself during the spy war, Jin Soo-hyun who was abandoned by the country for several years, and He Zheng-woo, the male anchor who fought to the death with terrorists. Which one is not a real hero? Tell me about these ordinary people. Have they moved you the most?" This is a statement in Zhihu's answer about Han Ying. In fact, it goes without saying that the recent "Tunnel" is an example. In the film, the young girl whom He Zhengyu met in the tunnel borrowed He Zhengyu's mobile phone to call her mother's crying performance. After thinking for a long time, I couldn't figure out any young well-known actress in China who could have such a performance.

Routine: Homogeneous works are overpraised

Although South Korean films are on the rise this year, such large-scale reporting and "coronation" are really overpraised.

Due to the classification system of South Korean films, in recent years, South Korea has spared no effort to slander the government in political films and crime films. When you first look at it, you will think, wow, how dare you say this? When you watch it again, you will gradually get used to it, and in the end you will be completely surprised.

For example, an increasingly common routine in South Korean film and television dramas is to crazily turn on the ridicule mode of the government and media workers. This is actually what Adorno said in "Dialectics of Enlightenment", which can be filled into entertainment works at will. Details anywhere.

"Not only do pop songs, movie stars and soap operas have rigid and unchanging patterns, but the specific content of entertainment itself is also produced here, and its changes are just superficial changes... All details are clichés that have been formulated long ago and can be used to place anywhere." As an integral part of the products of the cultural industry, South Korea's film industry now highly conforms to this point. In essence, the satirical plots of the government and the media are actually similar to the plots of the female lead in domestic youth films when she accidentally becomes pregnant and then aborts. They are both necessary links for screenwriters in content production. A plot that can be made up sometimes seems extremely real, but in fact it is still false.

These highly homogeneous works reflect their overall level to a certain extent-in fact, they are overpraised. Yes, the description of human nature in "A Journey to Busan" is delicate and true, but hasn't human nature been like this since ancient times? The truly outstanding Korean films are often the earliest films that touch the core of society or establish a sect. For example,"Melting Furnace","Yellow Sea" and "Hanjiang Monster". As for this "Trip to Busan", I prefer to divide it and "Uncle" in the kind of Korean films that "look great but are gone otherwise."

Editor: Nancy