Where should the backward Chinese cultural industry go?

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Source: trendy Meditations (id:xinchaochensi)

Author: liumenglong

These two days, the Japanese have scheduled the release of two games, which will harm my wallet again. One is that the RenWang team announced to do “Wolong: the sky fell”, that is, jumping into the Three Kingdoms in the Warring States period, and the other is that the final version of the old game “unparalleled snake 2” has been launched on steam at a price of 250 yuan. How to put it, whether it’s new products or fried cold rice, Japan’s cultural industry is still a bit of a draw.

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Japan is relatively mature in the cultural industry and has long played a leading role in Asia. Over time, Japan has formed a cultural erosion and monopoly in the East. In the context of both East and West, the transformation and monopoly of Oriental culture by Japan and South Korea have not only made money at both ends, but also formed obvious erosion and oppression on the development of China’s cultural industry.

In the case of sharing a cultural circle, this homogenization competition and the fight for the right to speak are even more popular than our opposition to European and American cultural dumping. Europe and the United States are at the top of the mountain. We could hardly cope in the past, so we had to raise our hands and surrender. Japan and South Korea are robbing their ancestors’ rice. Even if they make a new look, they will erode the fields. They must shout twice.

The fierce attack of Japan and South Korea is in contrast to the impotence of China’s cultural industry. With the rapid development of Chinese society, China’s domestic market has developed rapidly and has become the second largest single market after the United States. Just as the United States ascended to the top of the world and gave birth to Hollywood, China’s cultural industry should have taken advantage of the wind and created a brilliant future on the basis of its predecessors.

But in reality, China’s cultural industry is not facing the problem of lagging development and unable to meet market demand, but the problem of long-term pollution in the development process, body brain disjunction, and abnormal development. We can’t expect it to fight, but also to resist a man eating monster. The decadent old cultural circles, greedy new capital and incompetent and conservative bureaucrats are combined. On the one hand, they do not want to make progress, are unable to resist the enemy, and even open doors to thieves. On the other hand, they pit their own people, hinder progress, and strive to maintain backwardness.

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Most importantly, they are bent on reproducing the late consumerism cancer that western capital turns people into ghosts. They rely on monopoly channels to build information cocoons and fool people to lie down and make money.

After decades of self castration and external infiltration, China’s cultural industry has been completely polluted. Represented by the entertainment industry, it almost has the bureaucracy of the Soviet Union and the East, the confusion of consciousness in Europe and the United States, the personal attachment of Japan and South Korea, the feudal dross of old China, the corruption and backwardness of the former and modern times, the enclosure from self enrichment to post-modern entertainment to death, capital brainwashing, and the real five poisons. In addition to the world’s first-class extravagance and licentiousness, our literary and art circles are only extremely incompetent who can’t copy. The ugliness is so obvious that it’s annoying. I don’t know where to find my father. There are also corpses who occupy the position of no shit in the pit. They can be called kesulu style monsters that emit pollution all the time.

It can be said that in addition to the lack of capacity and quality in China’s cultural industry, there are not many good things learned from foreign countries, and there is no bad hair disease at all times and in all countries. I can’t see the legitimacy of new China, nor the vitality of a new great power. It’s completely a decadent style of the true biography of the national army.

However, just because our cultural undertakings have rotted to the extreme, not to mention high-quality products, and the supply of products with a passing level is insufficient, it is inevitable to make room for the new forces to make progress. Just like I want to supply stem, China’s purchasing power and domestic market have developed. Demand is there, and the division between the East and the west is imminent. Japan and South Korea, which are deeply bound with the west, are also difficult to stay out of it. In this special environment, even if it is gold in excrement, sooner or later our country will develop something to fill this hole.

As the first developed country in Asia, and under the monopoly of western culture, Japan once supported Asia. Although there are many sins and experiences, it is still worthy of our critical study.

How did Japan’s Asian leading edge come from, or can we simply copy the development route of Japan and South Korea? I’m afraid not.

The rise of Japanese cultural industry is related to the long-term absence of China in the world cultural market due to the cold war. It is essentially a part of the Western cultural industry system. Especially in the Cold War era, the prosperity of Japan and South Korea is not just a simple industrial transfer. As a frontline country, it also acts as the window of the West in the East. One of the consequences is that Japan has monopolized the expression of Oriental culture, which is also the basis for its smooth start.

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After all, China is not a part of the western system. Naturally, it cannot copy this path. It must rely on self-reliance after all. Until today, although Japan finally failed to replace China’s hegemony in East Asia, it has been widely recognized by the world, monopolizing a considerable part of the discourse power of Oriental culture, so that the coverage of Japanese culture is actually much larger than its own components.

Even after China regained contact with the world, Japan is still using its first mover advantage to try to penetrate Chinese culture. Japan’s ambition to dominate Asia continues to be overwhelming, and this cultural competition between China and Japan will always exist. For example, Dunhuang, the ancient costume blockbuster that has always been praised, is good for good. Finally, a part of it should be deleted, that is, at that time, the Japanese relied on their economic strength, were confident, used the past to satirize the present, and talked about replacing the cultural orthodoxy.

In recent years, China and Japan are not at the same level of national strength, and Japan has few mainland ambitions left. Between China and Japan, there is now more industrial competition for oriental cultural heritage, that is, the problem of eating. In this regard, Japan has a leading edge. For example, dark glory can earn a lot by eating the copyright of the Three Kingdoms game in China, and add a lot of new understanding to the Chinese people’s understanding of the Three Kingdoms. In fact, unknowingly, the Japanese have raised the Warring States period of Japan to an equal and even more widely known position with China. If it weren’t for the old TV series the romance of the Three Kingdoms awesome, maybe even the Chinese people’s own memory of the three kingdoms would have been completely transformed by Japan.

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Similar to the cognition of the Three Kingdoms, Japan has accumulated a lot of advantages in the cultural field for decades, which has affected the inherent impression of many people. However, China’s backward, incompetent and eager literary and art circles combined with Japan’s cultural infiltration, copying a large number of ready-made Japanese costumed props to act as costume props. This is not only lazy and ignorant, but also wants to use Japan’s influence to eat ready-made meals, which together forms the so-called problem of substituting Japanese for Chinese.

Of course, besides competition, Japan also has something worth learning from. For example, under the long-term dumping of the west, the cultural industries in the third world countries generally do not have mature commercial capabilities and can only engage in the so-called art. However, Japan not only defended a considerable part of its local positions, but also maintained cultural output. It not only gave less money, but also made a little money.

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In fact, there are some cultural exports to the west, including China, in most of the third world. One is to satisfy the Western sense of superiority. On the surface, it is attacking the backward and decadent autocracy of its own country. In fact, it is cooperating with the Western infiltration and control of its own country, either with tasks or running for various awards. There is also a cultural product based on local customs, such as the familiar martial arts, immortals, bamboo hermits, and the use of various Oriental elements.

However, the oriental element itself is defined by the west, such as Li Ziqi’s pastoral, which is very satisfied with westerners’ imagination of the East. If you show them high-rise buildings, big countries and heavy weapons, they may not buy it. This is nothing bad, but also a real business to earn foreign exchange. However, in the global cultural market dominated by the west, such cultural products cannot form industrial competitiveness after all, and most of them inevitably become part of the Orientalism narrative around the Western baton.

Where is the strength of the Japanese? As the first developed country in Asia, it has solved the modern narrative of Oriental culture, and can produce a large number of qualified commercial products, whose quality is no less than that of western mainstream products. Japanese blockbusters are definitely not as good as Hollywood blockbusters. This top-level design does not have this condition. But if you make a B-rated film, it’s almost the same as the United States. In this way, it is equivalent to Western cultural products on the basis of modernization and industrialization. Only on this basis can we talk about cultural characteristics. Otherwise, even the most exquisite cultural products, small workshops will be crushed by large factories.

For example, in the past, before the old cultural creation system left over from the first three decades of new China was tossed by our own people, we could produce some fine works, and even the West should recognize its level. However, this small amount of fine products is not enough to meet domestic demand, and it is difficult to resist the Western cheap dumping and large-scale infiltration. Of course, small workshops are not unable to survive, but at most marginalized. In the end, China didn’t even have small workshops, leaving only self-employed households. Instead, it was the product of internal and external attacks.

Because Japan often has a strong Japanese style when exporting foreign culture, it often gives people a feeling of winning with characteristics. This shows that some people are accustomed to the path of the world, and unconsciously return to the Oriental theme centered on the West. Many Chinese directors like to pile up Oriental elements. As a result, the cart is upside down.

Correctly speaking, it should be called both world and national. The first task is to adapt to modernization. Only with a modern core, exquisite structure and attractive stories can we call on national cultural elements for reprocessing. You can’t just see Japan exporting ninjas and samurai. It will also create GAODA and blue fatty. The Sun Wukong of Niaoshan Ming, the East is the East, but look at his whole world structure, is it full of an alternative sense of modernity, similar to the medieval high-tech of Star Wars. Without this foundation, no matter how many oriental elements are applied, it is not enough, and you will only be unable to understand both ends.

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In fact, we should see that the external output is the external manifestation of the relatively perfect internal development of Japan’s cultural industry. More directly, Japan can meet its own cultural needs, produce a large number of cultural products that adapt to the local environment, and gradually transform its own cultural market in this supply, making it difficult for foreign products to compete.

Until now, popular culture in Europe and the United States is still in the first-class position, while Japan and South Korea are on the second line. But even in the second tier, it is also a skill to produce and sell by oneself. For example, we have been in the downstream of popular culture for a long time, with more passive reception and less active creation. Jay Chou’s new album can still perform so prominently, which itself is our long-term weak performance in pop culture creation.

A large number of third world countries have implemented import substitution policies against developed countries, almost all of which have failed. The root cause lies in the inability to meet the basic needs of the country at the minimum cost performance. In fact, Japan has also widely absorbed the achievements of literary and artistic development in Europe and the United States for decades, and has developed on the basis of this modernization. Its performance in the cultural field is that of a typical second world country, which has the ability of all-round development, but based on various factors, it can only develop comparative advantages.

So don’t look at the fact that the Japanese are mainly engaged in characteristic industries today. It is only after people have a deep understanding, personal experience and manufacturing of various Western products that they have matured. The Japanese are not unable to make westerns, but they can’t compete with the United States. They always keep in touch with the forefront of western trends. The second-class power in the second world has eaten pork and knows how pigs run, while the common feature of the third world is that they don’t eat much pork and don’t know how pigs run.

Don’t expect to turn industrial cultural products into artworks. It should be artworks in essence. Audiences in the third world watch more big productions, and the threshold is not low. This is the difficulty of developing the cultural industry in late developing countries. Local creators are often too ambitious to start with basic products. They just want to rely on path, copy mechanically, and always want to make big news, which inevitably leads to big problems.

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What is our current situation? The western literary and artistic creation ability is declining and becoming increasingly conservative, but it is far from declining to a vulnerable level. Only for various reasons, the west can no longer control the ideological advantage of the East, and even take the initiative to cut off cultural exchanges with the East and eliminate its own dumping market.

This falling market is still the second largest in the world, and it is likely to be the largest single market in the future. Our cultural industry does not have enough capacity and productivity to meet the vacancy. As a result, besides foreign products, a large number of inferior products filled the market, satisfied with just rotten money, and intended to continue to do so. In this case, looking back at Japan and South Korea, we should understand that cultural products must first meet the daily needs and meet the modernization needs of society, and then others. This ability is precisely what the third world cultural circles, which are generally bred by the west, lack.

We’ll look back at ourselves. Our first step in striving for cultural sovereignty is not even external, but internal. If we can’t interrupt the contemporary process of just rotten money and try to reproduce the cancer of consumerism, our situation is likely to be Hong Kong and Taiwan. Our fast-moving consumer goods are just one of the sources of bad money. They are not even directly inherited from Europe and the United States, but third-hand smoke from Hong Kong and Taiwan.

The cultural industry in Hong Kong and Taiwan is typically without its own ideology. After the cultural accumulation borrowed from the mainland is consumed, only consumerism is left. After that, these people moved to the mainland, and then crossed with our mainland cultural circles. Even a little artistic exploration that Hong Kong and Taiwan had disappeared. There was no Ssangyong, but just rotten money left. If we are completely surrounded by the stinky information cocoon and the rotten mud of consumerism, let’s not talk about innovation and development. Even the abnormal prosperity of South Korea is difficult.

In the process of creating cultural products, modernity and nationality are not contradictory concepts. After meeting the problem of modernization, useful local elements will naturally be discovered in the process of development, but the problem of modernization cannot be solved. It is useless to rely on local elements to win by surprise. This is the difference between the brilliant works of independent studios and 3a masterpieces. In addition to meeting the domestic needs of cultural products, what we will compete for in the future is essentially the right to define modernization.

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This is based on the reality of China’s rapid industrialization. The cultural achievements that can accompany the export of China’s industrial products are bound to have a bit of the progressive color of the world’s first industrialized country. Compared with national characteristics, in fact, this is the label that we most urgently need to be recognized in contemporary times, that is, our strength. You’re welcome. Whether it’s to show martial arts immortals to China or foreigners, the effect is limited after all.

The West was able to do this at the beginning, because it has occupied the channel advantage, and the internal market is larger than the external market. It is confident that it is alone and can fight rabbits with grass. Our development is far from reaching this stage. We still need to show more Chinese made star ships, death stars and doomsday ark to both domestic and foreign people, so that everyone feels that it is up to the Chinese people to create these things and save the world to meet China’s development needs in the future.

Of course, there is an unprecedented situation, that is, China’s ability in the field of technological manufacturing is much stronger than its ability to tell stories. The cultural industry is divorced from manufacturing, that is, brain body mismatch. So that, to a certain extent, we can make up for the lack of speaking ability through advanced technology and low cost, so as to supply products that barely meet the market demand.

The need for structure in China’s cultural industry is something different from the past western mainstream narration. The same sound and light stimulation, but different ideological core. Whether it is the keynote of collectivism or the tradition of great unification, the different understandings of the Oriental subject on the world and modernization are different from the road advocated by the West in the past. Of course, these must be based on the basic skill of telling stories, but also on the widely recognized strength and progress of China.

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This is the difference between us and Japan and South Korea. There is a ceiling for the development of cultural industry in Japan and South Korea, which is the upper limit of Second World countries. It can’t challenge the top-level design problem. In the final analysis, Japan and South Korea are a country that can commit economic suicide in order to cooperate with the United States. How Japan’s economic foam burst is the conscious economic suicide and asset flight.

In this case, the cultural industry in Japan and South Korea will ultimately obey the Western baton. The cultural penetration of Japan and South Korea has its own initiative and cooperation with the West. Even for some tasks in the west, Japan and South Korea need to pay for them at the expense of their own interests. Of course, Japan and South Korea are more familiar with Asia and more competitive than the west, but if this constraint is not removed, they are also very uncomfortable, and even fail because of the blind command of the West.

The ultimate challenge for China’s cultural industry is the top-level design that the West has always controlled. In fact, China has always been pressing Japan and South Korea in concentrating on major issues. What China can learn from Japan and South Korea is to carry out general production without concentrating our efforts, which is part of our absence from class.

In fact, what we should learn most in the cultural industry is our own experience in developing large-scale industry. In essence, this is one thing. In the final analysis, many problems in China can only be solved internally. Just like restricting the development of our cultural industry, it is difficult for you to say whether the problem is caused by foreign dumping or bureaucratic inaction and disorderly behavior. Our whole society is indeed still in an immature state in the use of cultural industries, especially entertainment consumer goods.

Dumping of foreign products and indiscriminate interference in the development of domestic products are just the normal situation of the third world countries in the market of cultural products. Not only the production capacity is insufficient, but also the management ability of bureaucrats is insufficient. Therefore, it is simply one size fits all, lying down externally and strictly controlling internally.

Such a situation will naturally be gradually eliminated with the development of the industry. After all, even in the face of conservative bureaucrats and the real gold and silver of the market economy, they will eventually make concessions. In this process, no matter whether the regiment uses learning from Europe and the United States or the small unit tactics to learn from Japan, there is nothing wrong with all kinds of borrowing principles. But after all, we have to go our own way. It is even said that Europe, America, Japan and South Korea are not afraid after all. Sooner or later, they will destroy themselves. Once we lose external competition, things like those around us today will not become a group of uncontrollable monsters in the future. Instead, we should be more vigilant.

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