Zheng Xiaolong and other industry insiders: Burning money on stereotyped IP is a false proposition

Today, when IP is in full swing, Zheng Xiaolong believes: "In fact, I think IP is a false proposition. I have doubts about this matter until now. I think current IP is usually set on a specific content, that is, online novels or online literature. But it uses the word IP. In fact, IP is intellectual property, and online articles are only part of intellectual property, so I think it is problematic to treat it as the entire IP."

Since 2015, the term "film and television IP" has been hyped up by various film and television companies. At the same time, the capital market has contributed to the "IP boom", and the choice of investment is also "no investment without IP", allowing film and television companies to purchase a large number of online novel copyrights. As a lifesaving straw, Internet copyright fees remain inflated.

Recently, the "IP drama""The Legend of Ruyi" was settled on two satellite TV stations, and the online copyright was settled on video websites for an episode of 9 million yuan, making the drama the first drama in China to sell more than 15 million yuan in its first round. If the film is calculated based on a length of 90 episodes, the total selling price will reach 1.35 billion yuan. Coupled with the second, third and overseas copyright sales, the final sales of the show will exceed 1.5 billion yuan, which also makes the show popular before filming.

However, on the one hand, the market is hot about IP, but on the other hand, film and television experts have always believed that "IP craze" is a false proposition.

Data pours cold water on the form of IP dramas is greater than the content.

On the one hand, IP themes are sought after by TV companies. On the other hand, the performance of IP dramas on the stars is not ideal. Taking Dream Theater as an example, among the 18 TV dramas broadcast in 2015, IP dramas accounted for 44%, but the ratings performance is not ideal. Senior TV drama promoter Zhang Ya bluntly said: "Compared with the higher bids in the IP market, the ratings of IP dramas are not obvious in daily theaters. It can be said that the form of IP dramas is greater than the content."

Wang Leiqing, director of the SMG Film, Television and Drama Center, said that the current popular "IP" resources have been frantically plundered by the film and television drama market, and the "IP" robbery in the market has reached nearly 85%. However, under the fiery appearance, there has been a problem of duplication of themes: once-novel themes such as adventure and tomb robbery, upgraded monster fighting, and fantasy magic have quickly become new stereotypes. The "IP" market is complex, and film and television production companies and various broadcast platforms are facing difficult choice questions.

Producer and screenwriter Bai Yicong shared some of the phenomena he observed: The prices of some so-called IPs are now the prices of top "IPs" last year and the year before last, but I don't know or hear of those contents. I think some of them are not worth it. There are too few really good "IPs". There may be over-exploitation of "IP" in the future, but the truly excellent "IP" will still shine, and it will ultimately be determined by the content.

Zheng Xiaolong poured cold water on the industry: IP is a false proposition

. Today, when IP is in full swing, Zheng Xiaolong believes: "In fact, I think IP is a false proposition. I have doubts about this matter until now. I think current IP is usually Set in a specific content, that is, online literature, online novel or online literature. But it uses the word IP. In fact, IP is intellectual property, and online articles are only part of intellectual property, so I think it is problematic to treat it as the entire IP."

Regarding the popularity of what film and television companies now call "big IP", the reporter interviewed senior TV drama commentator Ding Xiaochen. She bluntly said: "In order to clarify the number of clicks behind IP online texts, I specially went to the online forum to check it. Popular IPs only have 1 million clicks on book websites. For China, which has 600 million Internet users today, this 1 million is a drop in the bucket and is not worth mentioning."

Not only are big IPs burning money, but many young film and television companies may not be able to make film and television works if they buy IPs. Wang Leiqing, director of the SMG Film, Television and Drama Center, bluntly said: "In the IP panic in the market, the industry is in a hurry. It is actually a misunderstanding to interpret IP film and television as an artifact. Whether IP can be transformed from words into images and into dramatic cultural products is really risky."

Huang Lan, vice president of Xinli Media and president of Xinli TV, quoted the four "Cs" mentioned in Director Wang Leiqing's speech. Namely: "Common"-has universally acceptable mainstream values and has the potential to spread among the entire population;"Creativity"-story creativity and subject type have market-leading value and innovative value;"Conversion"-has the practical feasibility of transforming textual descriptions into screen images;"Complication"-has the depth of humanity and the dramatic nature of ups and downs. She believes that under such standards, the scope of screening can be much narrowed. At the same time, she also proposed: "When the trend comes, we should find a positive value. A good TV series often determines most of the pattern by its ideological level. The most important thing is to lead and then cater to it."

Editor: kong