At the beginning of the establishment of diplomatic relations between China and South Korea, the two countries had close relations. South Korea exported its culture to China, and China accepted it. Without the popularity of Korean dramas translated by CCTV, a large number of young people would admire Korean culture even more, and the word "Korean Wave" would not have come into being. After the Sadr incident, relations between the two countries were frozen. At that time, the original young girls in Kazakhstan and South Korea had also become the backbone of society. Knowing that the national interest is above everything else, they naturally began to be emotionally alienated. Coupled with state control, Korean entertainment culture has been hit hard in China.

2. National development and China's cultural self-confidence

I like Korean culture, because I think they are ahead of us, with better drama production, more fashionable music and entertainment. However, with the economic development and opening up in China and the development of the Internet, we have received more information. Most importantly, people are more confident in their own culture. Our culture is profound, but we are not good at digging and packaging. With the development of economy, China's entertainment industry is bound to have greater development. Our own is better than others', so there is no need to see others'.

3. Aesthetic fatigue is far from reality.

Korean culture lacks innovation, and the advantages accumulated before are gone. Attracting young people only by appearance has no connotation. The actual number of Koreans going to China is not small, and those who have been there will find that there is a huge gap between reality and ideals.

In my opinion, South Korea's entertainment industry is still ahead of China in some aspects, as can be seen from China's continuous purchase of Korean variety shows, whether pirated or not. Only with national policies and national feelings can most people treat Korea and Korean culture more rationally. Therefore, Korean Wave will not be brilliant in China.

To analyze the reasons for the decline of the Korean Wave in China, we must first know why the Korean Wave was all the rage in China. The so-called Korean Wave refers to Korean pop culture. Perhaps in the eyes of some of us, Korean Wave is Korean film and television works and pop music, but in fact, Korean Wave in a broad sense also includes Korean national culture such as diet, clothing and customs. Of course, it is undeniable that the popularity of the latter depends on the former, which involves the issue of cultural packaging and export ability. Why should our party and government emphasize building China into a strong socialist culture and realizing the great rejuvenation of the Chinese nation? First of all, this shows that at least China is not a cultural power at present, just as we are a developing country in the primary stage of socialism economically. The reason why China is not a cultural power is not the problem of Chinese civilization itself, but the problem of our cultural communication means. You know, only the Chinese civilization in the world has a primitive civilization that lasts for 5 thousand years. Ancient Egyptian and ancient Greek civilizations as old as our country are lost civilizations. We don't even know whether the Egyptians and Greeks today are descendants of the ancient Egyptians and Greeks who built the pyramids and the Parthenon. Isn't it incredible to say that the profound Chinese civilization is not as good as the western civilization that has risen in the past two hundred years? Obviously, the crux of the problem can only be our communication means. Western culture and Japanese and Korean culture are not inherently superior, but it is undeniable that people have their own ways of communication.

In fact, the cultural export ability is closely related to the national strength and cultural policy to a considerable extent. As the saying goes, the granary knows etiquette, food and clothing know honor and disgrace-the export of foreign culture depends on the country's economic level and comprehensive national strength to a certain extent, and only a powerful country will make other countries pay attention to its culture. I can give you a few examples: On the eve of liberation, a professor from the Chinese Department of Peking University went to new york, USA. He worked as a professor in China, but there were not many people studying Chinese in the United States at that time, so he had to find a job of washing dishes. 15, the first atomic bomb developed in China exploded successfully. At this time, a dramatic event happened. Before that, the professor posted resumes everywhere, and no one cared. But after the news of China's atomic bomb test reached the United States, American universities began to contact him actively. The decorative explosion of China's first atomic bomb successfully occurred in 1964. Now, after more than 50 years of development, China has become the world's second largest economy, the world's largest trading country, the world's largest foreign exchange reserve country, the world's largest steel producer, the world's largest agricultural country, the world's largest grain producer, the world's second largest foreign investment attraction country and the fastest growing country in the world. It can be said that there is not a piece of land in the world that China's capital and personnel have never set foot in. With China manufacturing going global, China's cultural attraction in the world is increasing day by day. Up to now, China has established 548 Confucius Institutes and 1 193 Confucius classrooms in primary and secondary schools among1870,000 students.

One of the reasons for the popularity of Korean Wave in China in a specific historical period is that China's economy has not yet entered a period of rapid development, so it is somewhat envious of South Korea. Second, because of the decline of China's own culture-due to the invasion of foreign powers in modern history and political reasons in a specific historical period, China's traditional culture was once lost, so that some people claimed that "Chinese civilization is in Korea", which is an absolute prejudice, but it did reflect the objective reality of China's own cultural decline at that time to some extent. At that time, the economic development of South Korea and the scenes in Korean dramas made young people in China see the life of people with an annual per capita income of $20,000, so they felt fresh. Of course, this is not the whole reason why the Korean Wave can prevail in China in a specific period, because the economies of European and American countries are more developed. Another important reason for the development of Korean Wave in China is that South Korea is a country in the East Asian Chinese character cultural circle deeply influenced by China culture. For the audience in China at that time, Korean culture was more acceptable than European and American culture. The South Korean government has been actively pursuing the policy of building a country through culture: many famous universities in South Korea have set up graduate programs in Korean cultural studies to promote cultural export with the strength of the whole country. During the period from 65438 to 0992 after the establishment of diplomatic relations between China and South Korea, the relations between the two countries were relatively close: the establishment of diplomatic relations opened the door of China, the largest market in the world, to South Korea, and at the same time, China was able to break the diplomatic ice with South Korea, an emerging Asian economy. At the same time, Japanese right-wing militarist forces have repeatedly provoked the national feelings of China, South Korea and other Asian neighbors on historical issues. While condemning Japanese militaristic forces, China and South Korea have also strengthened economic and trade cooperation. It is in this process that cultural products, as a special product, are naturally included in the trade between the two countries. The earliest development of Korean Wave in China was actually supported and recognized by China officials and people: in fact, the earliest Korean Wave was not introduced by Mango Taiwan-the Korean TV series Jealousy was broadcast on CCTV 1993, which was the first time that a Korean TV series landed on the mainland screen; 1997 The popularity of the TV series "What is Love" in CCTV led to a large influx of Korean entertainment culture into China, and took this opportunity to gradually form the Korean Wave; After entering the new century, with the popularity of dramas such as Blue Life and Death Love and Dae Jang Geum, the Korean Wave reached its peak. South Korean actors who have been developing in China since 2005 have repeatedly made inappropriate comments after returning to China, which has disgusted the audience in China. With the rapid development of China's economy and the implementation of China's strategy of strengthening the country through culture, more and more China people realize that South Korea's strong cultural infiltration and expansion ability is based on the plagiarism of China culture, which makes more and more China people have a strong dislike for South Korea. However, South Korea did not stop there. On the contrary, in addition to copying the culture of South China, it also confronted China in many fields, such as politics, economy and territory, which made the anti-Korean sentiment in China intensified. In fact, not only in the cultural field, but also in the economic and trade field: before the Sadr incident, the biggest target country for China people to buy foreign goods was not the United States, Japan or any European country, but only South Korea. However, the Sadr incident exposed South Korea's pro-American unilateralism diplomatic line, and at the same time made Korean products, including cultural products, lose the huge market of China.

In fact, regardless of national sentiment, even in the economic and cultural fields, the decline of the Korean Wave is an irreversible trend. Japan's recent sanctions have exposed the defects of South Korea's economy, and South Korea's defects in the cultural field have long been traceable. South Korea itself is a country lacking in cultural resources, but its so-called strategy of building a country through culture is based on the plagiarism of China culture to a considerable extent. We might as well compare the output of Korean Wave and Japanese pop culture, and we can find that the gap is too obvious: it cannot be denied that there are some shoddy brain-dead works in Japanese cultural works, but there are still many classics. Although Japan is a country with poor local culture, it is a country that is good at imitating and learning. In fact, Japanese customs such as tea ceremony, flower path, book path and kendo all originated in China. However, we have to admit that Japan developed it with its unique technology, and even exported China to Go for a time. In literature, Nobel Prize in Literature winners such as Yasunari Kawabata and Kenzaburo Oe were both born in Japan. Norwegian Wood, Haruki Murakami's fifth novel from 1987, sold10 million copies in Japan on 20 10, and 7.86 million copies in the domestic simplified version in 2004, so it won the Jerusalem Prize and the Andersen Prize for Literature. From April of 195 1, the comic magazine Teenager of Wenguang Society began to serialize Osamu Tezuka's comic work Astro Boy. Now astro boy has become a typical representative of Japanese animation culture, and his influence has already gone out of Japan. 1954 The film Godzilla created a symbol of Japanese pop culture that lasted for decades. 1956 The monster Godzilla appeared on the American screen, and this symbol of Japanese pop culture began to go to the world. Takashi Shimura, who played the real hero in the film Godzilla 65438-0954, starred in Seven Samurai directed by Akira Kurosawa in the same year, which made Europe and America realize the rise of Asian films for the first time. 1June 1970, 1-4 grade students began to serialize the cartoon Doraemon created by F. Fujio Fujiko, which soon became the childhood memory of a whole generation of Asian teenagers such as Astro Boy. 1974 Sanrio company created a worldwide resume for its Hello Kitty image: "Hello Kitty was born in London, England, and lives here with her parents and twin sister Mimi. Katie and Mimi are both in grade three. Her interests are music, reading, eating cookies made by her sister and making new friends. Hello Kitty, a cartoon character, has created a profit of 654.38+000 billion yen for Sanrio Company. Spring in the Northland was composed by Hiromasa Inoue, composed by Endo Minoru and sung by Chihiro. It was released on April 5, 1977/kloc-0. By 1979, the album "Spring in the Northland" had sold 5 million copies, and the influence of this song went abroad-1988, Chinese mainland rated it as "the past 65433". This song has also been sung in Thailand, Mongolia, India, Vietnam, the Philippines, Hawaii, Brazil and other places, becoming a favorite song of 65.438+0.5 billion people. In China, Teresa Teng, David Jiang, Guan Mucun, Andy Lau and others covered the Mandarin version of Spring in the North. Ye Qitian and Han Baoyi have covered the Minnan version; Paula Tsui, Chow Yun Fat and others all covered the Cantonese version. Today, Japan has become the second largest music market in the world with an annual output value of nearly $3 billion. Japanese animation and film and television works were once popular in Asia. It can be said that a whole generation of Asian neighbors, including China, grew up watching Japanese animation: in the late 1980s and early 1990s, television was gradually entering the era of our family. The children watched cartoon works such as Doraemon, Dragon Ball, soccer boy and Slam Dunker, as well as film and television works such as Blood Suspicion and Volleyball Girl. It should be noted that Japanese cultural works are not only popular in Asian countries such as Japan and China, but also have considerable influence all over the world. By contrast, does Korean Wave have a market outside Asia?

Today's world is flat-in this network information age, both tangible goods and intangible cultural products are fiercely competing with the whole world as a market. For the cultural industry, the concept of national boundaries is fading to some extent. In this case, Korean Wave is facing more and more competitors even in the traditional Asian market, not to mention going global. At present, South Korea's cultural industry has been squeezed by double: on the one hand, the United States, as a world power, has gradually spread its cultural soft power to the Asia-Pacific region, while Japan, as a traditional power in Asia, has been competing with South Korea in various ways, and the competition in cultural industry is one of them; On the other hand, China is now the second largest economy in the world. With the steady development of hard power such as economy and military power, China is also actively building its own cultural industry and has made great progress. With the increasing national self-confidence of China people, China's cultural industry is bound to rise to a new level. Therefore, while facing the strong pressure from the United States and Japan, South Korea must also face the catch-up of China, a rising emerging cultural power. In fact, China is not the only country that has caught up with or even surpassed South Korea. In recent years, even Thailand is actively building its own pop culture industry and occupying many cultural industry markets that were once monopolized by Japan and South Korea. According to this trend, I am afraid that the Asian pop culture industry market will gradually transition from Japan and South Korea to the Warring States period. If the trade dispute between Japan and South Korea shows us the economic shortcomings of South Korea, it is not difficult to draw the conclusion that the decline of Korean cultural industry is an inevitable trend as long as we carefully examine the development of cultural industries in China, Japan and Thailand.

Don't you think our idols in China are not as good as them? YiBo Sean Xiao is a good example now. Han's rainbow fart was almost robbed by us. Our idol is fragrant. They just want to take them home and hide them. South Korea's restrictions are very good, just continue to restrict it [cool drag].

Since 2005, the Korean Wave has gradually ebbed. China people's enthusiasm for the Korean Wave began to cool down, and they showed boredom or even disgust with South Korea or Koreans and Korean pop elements. There are four main reasons why the smash hit Korean Wave has fallen to the point of today:

(A) the exposure of defects in Korean dramas

First of all, the producers of Korean dramas began to pay more and more attention to business goals after tasting the sweetness of success. In the cast, we rely more on "stars" than "actors", and the films made are more like "goods" than "works". The mass-produced Korean dramas with the same content and single expression technique are being ignored by the audience. The low tide of "Korean Wave" is just commercialization. Secondly, Korean dramas are too rigid in traditional culture and fail to "take the essence and discard the dross". For example, many Korean dramas constantly promote women's three obedience and four virtues. This traditional cannibalism is bound to be rejected by China, because the social status of women in China is generally higher than that in South Korea. Because Korean culture has been influenced in many ways during its formation, although it has a colorful appearance, the collision and friction between eastern and western cultures can not be ignored. In addition, due to continuous absorption but insufficient integration, Korean culture looks rough, does not have enough precipitation, can not stand scrutiny, and it is easy to lose interest after being amazing. Therefore, it can be said that Han was born in his culture and died in it.

(B)' cultural hegemonism' obstacles

Under the strong impetus of the Korean Wave, South Korea's one-way export of film and television products to neighboring countries has quietly bred a sense of cultural superiority, and the intervention of government behavior has caused neighboring countries to rebel and reject South Korea's practice of promoting Korean history, cultural customs and even diet through TV dramas. Moreover, this "cultural hegemonism" will also cause cultural and economic protectionism in neighboring countries and regions. Taking China as an example, Korean film and television dramas have had a great impact on the China market, which led the China government to take restrictive measures. Since 1993, the number of Korean dramas imported from China has been increasing, and Korean dramas have repeatedly created high ratings in China. On the other hand, Korean TV dramas are booming in China, while the development of domestic TV dramas in China is struggling. Therefore, the State Administration of Radio, Film and Television has made a policy adjustment on the introduction of overseas TV dramas: "Multi-country introduction does not focus on American and Korean TV dramas". At the same time, the price of Korean TV dramas imported into China has risen too fast. The excessive purchase price makes Chinese mainland TV station overwhelmed, which will naturally reduce the release of Korean dramas. Judging from the surge of Korean Wave in China, Korean drama is its core power. If the core power suddenly cools down, it will surely bring the Korean Wave in China to a standstill.

(C) the negative impact of narrow nationalist sentiment

First of all, because of narrow nationalism, some Koreans face a series of historical problems, instead of looking at them objectively, they frantically exaggerate and expand the historical achievements of their ancestors, and even distort the history of China to achieve their goals, which will naturally arouse the dissatisfaction of China people. The broadcast of TV series insulting China has seriously hurt the feelings of the people in China, and it has also become one of the reasons for the rise of "Korean Wave" in China.

Secondly, in 2005, South Korea successfully declared "gangneung danoje festival" as a world cultural heritage, which aroused the strong national consciousness of China people and aroused the dissatisfaction of China people again. Although there are essential differences between the Dragon Boat Festival in South Korea and the Dragon Boat Festival in China, it is still unknown whether the Dragon Boat Festival, which also plays an important role in China, has been declared in many national festivals with local characteristics in South Korea. In short, the misunderstanding caused by the Dragon Boat Festival heritage application storm is not easy to eliminate, and the psychological gap between Chinese and Korean people is further deepened.

In addition, there are also great disputes between the two countries on Koguryo's historical issues, the division of exclusive economic zones at sea and the trade of agricultural products. Coupled with a few lines in Korean dramas that make the audience in China uncomfortable, and the argument that Confucius is Korean on the Internet, it is easy to arouse the angry nationalism of China people. The spread of this emotion will inevitably have a negative effect on the spread of Korean cultural products in China.

(D) the impact of changes in the economic development of the two countries

Any cultural situation is related to politics or economy. In recent years, South Korea's economy has encountered some problems, such as the retreat of South Korea's manufacturing industry in China and the deficit of South Korea in clothing trade. And the rapid development of China's economy, from which we can predict the ebb of the Korean Wave fever.

First of all, the trade of cultural products between China and South Korea is not equal. According to China media reports, China's trade deficit with Korean cultural products is larger than that of manufactured products. China has a serious "cultural deficit". China imported a large number of Korean film and television dramas, and approved many Korean film and television stars to come to China for concerts and publicity, but did not get the same return from South Korea. It is difficult for China TV series to enter the Korean market, and the three major TV stations in South Korea rarely broadcast China TV series. According to the Korean Chosun Ilbo, in order to balance the cultural trade between South Korea and Vietnam, the South Korean government has consciously introduced a number of Vietnamese films. But South Korea didn't do this to China. No matter what the purpose of South China is, this cultural trade deficit not only puzzles people, but also forms a kind of disgust.

Secondly, in 2008, the misconduct of Korean-funded enterprises in China had a great negative impact. Due to the implementation of the Labor Contract Law, the labor cost has increased, and the expected income of some foreign companies has declined. Coupled with the financial crisis, a large number of Korean-funded enterprises in China abandoned their factories and fled, which not only brought huge economic losses to China, but also greatly reduced the reputation of Korean enterprises. South Korea's image in the hearts of China people has been greatly reduced, and even once became synonymous with dishonesty. The appearance of this negative image will inevitably arouse the resentment and resistance of China people.

The rise of Korean cultural industry has become a successful example of many countries that urgently need to develop cultural industry. The successful experience of the Korean Wave shows that China, with its splendid cultural tradition and profound cultural heritage of 5,000 years, is fully capable of realizing the global development of "Han Style". To deal with the Korean Wave, we should be rational, take the attitude of opening up as a big country, learn the advantages of the Korean Wave culture, take the lessons of the "cold current" of the Korean Wave as a warning, and earnestly improve the development mechanism of the cultural industry. When China's culture "goes out", it also needs to "bring in" foreign advanced culture. Only in this way can we vigorously develop cultural industries from all angles and win the respect of cultural exporting countries, and cultural promotion will naturally follow, and it will be a long-term sustainable development.