October 10, 2022 | Total Issue 3020
Beginning last month, news of remakes of many popular Korean dramas has been reported one after another. The mainland version of "W-Two Worlds ", named "Next Stop Your World", has officially launched. " Pinocchio " and "The Lonely and Bright God: Ghosts" (hereinafter referred to as " Ghosts ") also entered the list of "to be turned".
As expected, once the hot search hits, the scolding continues.
This kind of scolding sounds like some kind of PTSD (Post Traumatic Stress Disorder). As soon as I see a remake of a Korean drama, I have a conditioned reflex: there are a few commercial bad dramas that destroy classics to waste resources and pollute the eye.
Korean drama remakes will form such a stereotype , which is actually quite abnormal. After all, since the 2016 co-production of ", Descendants of the Sun, " became a phenomenal work, the cooperation between China and South Korea in film and television has stalled due to various uncontrollable factors. Although the remakes of
Korean dramas still exist in secret, they are not many. Even if it is adapted, it is almost based on the idea of cutting off from the original work and creating a completely localized idea.
said that the secret to the success of the remake lies in the rewriting of " localized ".
Love, light joy, fantasy, "South Orange and North Orange"
From the creative point of view, remakes of Korean dramas can be roughly classified into two categories: love and fantasy. Korean dramas are better at delicate and deep love narratives, urban love is the most popular, and it is also the lowest threshold for remakes. High-concept stories with fantasy elements are also the focus of the remake. In addition, the element of Qingxi is the "magic oil", which is suitable for all types, and romantic comedies and romantic fantasy comedies were born.
Love, light joy, and fantasy have become the best plays in Korean drama creation, but they have become the hardest hit areas for "acclimatization" in Korean translation.
In fact, from the perspective of reality, it is not surprising that Korean-style love is not suitable for China. Although compared with the West, young people in China and South Korea have more similar views on love and love models, there are still fundamental differences in the program.
In South Korea, men and women will go through a long period of ambiguity before officially confirming their relationship. Two people who have a good impression of each other can care about each other like lovers, and can have physical contact at the level of lovers, but they cannot be regarded as contacts until they officially confess. Ambiguous results are not necessarily together. This is the ambiguous culture of Korean love.
This is also why the male and female protagonists of Korean dramas, no matter how many times they hugged, kissed, and said many blushing lines, before they officially confirmed their relationship, they broke up without guilt. In the eyes of Chinese audiences, it is the cunning brushwork used by screenwriters for water dramas, but in the hearts of Korean audiences, it is a normal development of the ambiguous period. An ambiguous culture like
" hears your voice "
can be classified as aquaculture in China. "Love without the purpose of marriage is a hooligan", then a kiss that is not for the purpose of being together is more hooligan than a hooligan. Seeing that the male and female protagonists are not together after kissing, I am puzzled but can only accept it.
Watching " Full House " 10 years ago, Li Yingzai swore an overbearing oath in front of the media to kiss Han Zhien , maybe it will feel fresh, but ten years later, I will see Jin Zeyi ( Xu Weizhou) in "Midsummer Full of Heart" ) shouting "I'm your husband" and kissing Luo Tianran ( Yang Chaoyue ), the audience will have the urge to call the police for her. I am afraid that love like
can only stimulate the hormones of innocent girls, and it is difficult to arouse more people's sense of reality substitution. A love narrative like is difficult to break through the circle.
This also involves a concept, mother tongue shame. Native language shame is expressing unspeakable words in one language that can be more smoothly expressed in another language. Both "mental distance" and "cognitive fluency" are correspondingly reduced when using a non-native language.
In the remake, there is also a kind of native shame. When we listen to two foreigners talking about 's earthy love words, will blush and heartbeat, but watching two Chinese tyrants show love, it will be embarrassing to dig your toes, because you know that normal young people in China are not happy when they are in love. But most domestic romance dramas that are remakes of Korean dramas usually do not properly handle the lines of these "famous scenes".
" has no secrets to you "
Qingxi elements are even more dissatisfied. The sense of lightness depends on humor. There are many kinds of humor itself, and the forms and emphasis of humor in different cultures are different. In the current remakes, no attention has been paid to the sinicization of this aspect.
Korean humor is relatively concentrated in family ethics or misalignment of teeth, embarrassment, word games, etc. Some humorous expressions are more formal, that is, stylized, refined and exaggerated performances. The laughs in romantic comedies are in the same vein, and physical humor is the highlight.
"The discovery of love "
Chinese humorous jokes are often buried in drama conflicts . At the beginning of the plot, the burden is buried, and the grass snakes and gray lines are detonated one by one at the end. The masterpiece of domestic comedy is " Martial Arts Gaiden " with constant burdens and frequent golden sentences.
Therefore, if the meme of the Korean romantic comedy is transferred to the remake, the taste of kimchi cannot be concealed. It's "creepy" people laughing, and many of the lines are not completely Chinese, and the dialogues of the characters have a transliterated tone, which is even more strange and embarrassing.
fantasy dramas are unsatisfactory. In fact, most of the time it is not because of embarrassment or shame in the native language, but because the basic audience is too small. There is a fundamental difference in the acceptance of fantasy by the people of China and South Korea.
South Korea's fantasy stories are based on a modern city with advanced technology, or use supernatural power to stir up chaos in a peaceful city, or give the protagonist special functions, bringing incredible hope to a hopeless life. Love naturally sprouts in these processes.
The boyfriend who is a god in "Ghosts" can always appear when needed; "I Hear Your Voice" Mind-reading can help lawyers solve cases, and can also capture the heart of my sister; " When You Are Sleeping " Dream Prediction In the future, save your loved ones in danger.
In Chinese film and television culture, the best soil for fantasy is not the city, but the ancient times. Immortals and people, demons and demons, fall in love with superpowers, sadistic love between life and death, reincarnation entanglement, thousands of years. Xianxia drama, this is a Chinese romantic fantasy.
relies on China's huge and mature mythology system. Even if a drama's built-in worldview is flawed, it will not be the main factor affecting the audience's viewing of the drama. The audience is sinking enough, and the tolerance will be high. A Xianxia drama that does a little better will become a hit.
And modern fantasy is different, most Chinese audiences need to accept the process of setting. Once a bug occurs in this process, the look and feel will collapse. In other words, modern fantasy dramas have a very low error tolerance rate in the minds of Chinese audiences.
The same thing happened in Korea. The Korean costume fantasy drama "Revival", a replica of Chinese Xianxia, is written by the screenwriter Hong sisters of " My Girlfriend is a Nine-Tailed Fox " and " Lord's Sun ", but Korean netizens do not pay the bill, and Chinese netizens only feel Dong Shi Xiao frowned, and his performance was mediocre.
Realism and strong plot win
Compared with romantic fantasy comedies that are several feet off the ground, there are two types of remakes that have achieved good reputation. From the successful experience of these two remakes, it may be possible to get a glimpse of the future direction of remakes of Korean dramas.
is a realistic industry drama " Ordinary Glory ", which is a remake of the 2013 Korean drama "Weisheng". Taking the growth of newcomers entering the workplace as the main line, depicting the real ecology of the workplace.
The trepidation of entering the workplace, the realistic growth of entering three and exiting two, the sluggish employment situation, and the fierce competition among colleagues... are the resonance across languages. There is no love line in the two Chinese and Korean versions of
, but this does not affect the audience's true and heart-piercing evaluation of it. "Ordinary Glory" is in line with the current Chinese workplace ecology.
It is worth mentioning that "Ordinary Glory" avoids the rigid and rigid second creation. "Unborn" Zhang Gelai ( Ren Shiwan ) and "Ordinary Glory" Sun Yiqiu ( Bai Jingting ) are also big companies that entered through the back door, but their encounters are not the same. The Korean workplace is extremely repulsive of "airborne soldiers" and often becomes the object of isolation or even bullying. Zhang Gelai in the first two episodes was really miserable.
China is a human society and a relational society. Although this situation is unfair, people's first reaction to going through the back door is often to guess the background background and create a feeling of admiration. To be honest, I was relieved to see people around me curry favor with Sun Yiqiu without knowing it.
Another type of strong melodrama is suspense and criminal investigation. Based on the 2016 Korean drama " Signal ", " Time and Space Calls " tells the story of criminal policemen who cross time and space through dialogue and jointly solve many unsolved cases through a mobile phone. On the basis of retaining the tense and smooth narrative rhythm of the original work,
localizes the case and conforms to the social status quo, so that it avoids the split feeling of the remake. For example, a case in "Signal" incorporates the real incident of the collapse of Seongsui Bridge in South Korea, satirizing the darkness of the chaebol; in "Calling from Time and Space", it is subtly changed to a real domestic case. An expression of feudal superstition.
The cases are different, but the emotions are the same. Both dramas use fantasy settings to express the firmness of justice and evil, and to deeply explore the symptoms of the times in society.
From the perspective of public resonance, reality-themed dramas are strong plot-type dramas, and they are still a blue ocean of Korean drama remakes.
remake localization, but also " Xindaya "
In fact, the principles of remake and translation, to some extent, have something in common. Translation is a bridge for communication between Chinese and foreign cultures, and remakes also assume the function of cultural communication, taking the strengths of foreign dramas and making up for their own shortcomings, bringing back fresh perspectives, and feeding back the development of domestic film and television creation.
The most important guideline for translations is "Be Confident". If the content is faithful to the original text, it is called "trust", the language is clear and clear, and it is called "reach". The translation should conform to the characteristics of Chinese, focusing on the accuracy of the content, the smoothness of the grammatical structure, and the literary quality of the language carrier. The same is true for
, remakes also have remakes of Xin, Da, Ya . Retain the important settings of the original work, do not change it, grasp the deep essence of the story and the tone of the characters, which is called "faithful"; the story is complete, the plot is coherent, and the narrative is smooth, which is called "da"; dramatic, artistic, and aesthetically online, it is called "elegance". The remake of
must follow the rules of domestic drama creation and the tonality of the audience, and use the same setting to tell a story that has both ideological value and aesthetic value.
put it bluntly, 's remake has to "go in" and "go out" to . Step into the core of the story, into the hearts of the characters, and look for emotional resonance and deep value; get out of the narrative program limited by the original culture, language, art form, etc., and get out of the "bringing-ism" mindset of remakes to overcome cultural barriers.
For example, the three Korean dramas that are about to be remade can all find winning points.
"W-Two Worlds" connects the real world with the comic world, adding the former to influence the latter's high-concept settings, and the constant stimulation of high-energy dual-world shuttles is the root of the audience's top, rather than with " ripped men " fall in love.
"Pinocchio" seems to be the "pseudo-uncle and nephew love" of Lee Jong Suk and Park Shin Hye , but what really won him a high reputation is the depiction of the real life of social reporters in the play, as well as the ups and downs, reversal of constant social cases.
"Ghosts" scored 7 points for the charm of the script, 9 points for the actors' chemical reaction, and 9 points for the director's handling of the atmosphere. The love story between man and god and the reincarnation of sadomasochism are not new, but the director and actors have created a "quasi-modern humanized" god who is the most attractive and affectionate man in the world. If you want to shoot these dramas
well, it is as difficult as starting from scratch. The remake of
is not a panacea when creative inspiration is exhausted, nor does it mean winning at the starting line, let alone being a "hands-on party".
's lazy and trouble-free "split shot" copy is destined to not stand the test of the audience's eyes. For the sake of "creation safety", the evasion of throwing the bath water and throwing the children together will also make the remake lose its advantage.
explores the boundaries and learns from each other in this "Blue Ocean" remake of a Korean drama with a realistic theme.
[Text/Time One]
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