中国将很快变成亚洲文化产业中心吗,像日本韩国一样?还是说审查制度阻碍了它?

01-08 240 31321 土豆蛋蛋儿
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Will China soon become a cultural powerhouse within Asia/the world, like Japan and South Korea up to now, or will censorship continue to prevent that?

中国将很快变成亚洲文化产业中心吗,像日本韩国一样?还是说审查制度阻碍了它?

 
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1.Greg Blandino, works at Beijing, China
As long as the beigeist combover bureacrats keep a stranglehold on Chinese cultural products, there is no chance China will become a cultural powerhouse. Let’s examine the last almost-could-have-been opportunity now currently being sacrificed on the altar of Chinese political correctness by government wags.
The cultural phenomenon in China 2017 was Hip-hop (well, and Honor of Kings). Spearheaded by a Chinese version of a Korean show, Hip-Hop of China blew K-pop out of the water. Chinese rappers like Xiedi, PG one, and Gai got nationally famous through this show. Kris Wu stopped dressing like a Korean and instead went for an early-90s New Jack City look, only without the shoulder pads. Times were good in the celestial kingdom.
And then the old party cadre fuddy -uds finally woke up to what their grandkids were watching and listening to. And no, I’m not talking about Feng Xiaogang, who is probably a fucking awesome grandpa. Unfortunately, the ultimate arbiter of Chinese popular culture isn’t Feng Xiaogang. It’s a bunch of faceless bureaucrats in the SARFT who think that what the people reallllly want is another family drama set in a fucking village or a historical drama set in ancient China. Hence the insane popularity and influence of American and South Korean culture, TV shows, and music on contemporary Chinese culture.
Certified cool Grandpa Feng Xiaogang has learned a new word from the crazy Hip-hop kids. Uncool Granpas in the SARFT disapprove of his waistline not being placed 16 inches higher up his belly and fuck with his National Day release for his latest movie.
Anyways, one thing that looked like it maybe could compete with this foreign cultural dominance, and perhaps return the favor by maybe actually influencing the global culture for a change, but with it came some “spiritual pollution” and bam! They didn’t shut it down, but they are going to neuter it, just like they always do. And once it is neutered and watered down people domestically are going to start to tune out, and it will die a death of bureaucratically-mandated-mediocrity overseas.
It isn’t like Chinese people are incapable of being cool, or creating cool shit. It’s just that in the process of creating things, there might be something that isn’t all “positive energy.” It can’t be centrally controlled, and you can’t control what people think, feel, and experience, thus you can’t control the art they produce. But goddammit, the CCP is going to try! Once they get around to detecting a new cultural movement six months too late, they are going to ensure it is as bland an inoffensive as possible.
Can’t PG One wrap about his ardent love for studying with a female study partner?
The funny thing is how ineffective this is. Did making PG One apologize for listening to black people music make Chinese society any more wholesome? Any less materialistic? It isn’t like it means he didn’t fuck Li Xiaolu. It isn’t like 20 year old Chinese girls aren’t sleeping with young, rich, attractive Chinese music stars now that the SARFT stepped in to ban Christmas Night. And yet every American or Korean rapper out there still exists, rapping about love, life, sex, drugs, hate, and lust. You know, things that happen in real life. And as long as Chinese cultural products are hobbled, and its competition isn’t, the chances of it becoming a cultural powerhouse are nil. Shit, half the 4 Chinese classics couldn’t even be published today due to censorship if they were new and the SARFT got a crack at them. When you haven’t made something culturally relevant in centuries, maybe it is time to loosen up the censorship a little.

1.格雷格 博兰蒂诺,工作在北京,中国
只要赤色官僚主义者们控制着中国文化产品,中国就不可能成为文化强国。让我们来看看最近一个例子,它本有可能成功,但现在被中国以政治正确的名义牺牲掉了。
2017年中国的文化潮流是嘻哈(好吧,还有王者荣耀)。在韩国节目的中国翻版中,中国的嘻哈人士,如谢帝、pg one、Gai通过这个节目在全国都出了名。吴亦凡不再穿得像韩国人,而是选择了90年代初的新杰克城造型,只是没有肩垫。一切运行良好。

然后老党员干部终于醒了,看看自己的孙子们在看和听什么。不,我不是在谈论冯小刚,他是一个很酷的爷爷。不幸的是,中国大众文化的终极仲裁者不是冯小刚,而是一群无所事事,不接地气的官僚。他们认为人们真正想要的是家庭伦理灾难剧,被设定在一个该死的村庄或中国古代历史。因此,美国和韩国文化、电视节目和音乐在现今的中国疯狂流行,拥有极大的影响力。
酷爷爷冯小刚从疯狂嘻哈的孩子们身上学到了一个新词。不酷的国家广播电影电视总局的老爷爷们反对冯小刚的腰带没有被系在比啤酒肚高出半米的地方,而且不给他的国庆节新电影放行。



不管怎样,只要中国出现任何一件看上去可能会与外国文化的主导地位相竞争的东西,或者还会通过影响全球文化来得到回报(尽管伴随着一些“精神污染”)!他们不把它关了,但他们会玷污它,就像往常一样。一旦被阉割和浇水,在海外它就会死于官僚统治下的平庸。
不是说中国人不能变酷或者创造酷的东西,只是说在创造事物的过程中,可能有一些不是“积极能量”的东西出现,你无法控制人们的想法、感受和体验,因此你无法控制他们产生的艺术。但是该死的,gcd去尝试!一旦他们去检测一个新的文化运动,他们将确保它尽可能的平淡无奇。
Pg one不能包容一下一个女性朋友和他一起学习的热情吗?

多么滑稽又无效啊。pg one竟然需要向中国公众道歉仅仅因为听黑人音乐?道歉了之后,中国社会的物质主义有少一点吗?这并不意味着他没有和李小璐上床。中国国家广电总局宣布禁止圣诞之夜,就好像这样做的话,20岁的中国女孩们就无法和年轻、富有、有魅力的中国音乐明星上床一样。然而每个美国或韩国说唱歌手仍然可以说唱在现实生活中存在的关于爱,生活,性,毒品,仇恨和欲望的事物。只要中国的文化产业步履蹒跚,它成为一个文化强国的机会就是零。该死,如果中国四大名著是新书,那么一半会因为审查制度而无法出版。当你几个世纪没有做一些与文化相关的事情时,也许是时候放松一下审查制度了。

2.Robin Daverman, World traveler
Thanks for A2A. A very good question that makes me pause. Personally, I think that the most quintessential ‘Chinese’ culture can not be exported, but maybe some marginal or derivative cultural products will have some appeal to the other Asian countries in the Sino-sphere. For the Chinese culture to have any kind of popular appeal to the rest of the world, you should probably think in terms of centuries, and not decades.
This has nothing to do with censorship, but with the gulf of cultural ‘taste’ between China and the contemporary pop culture. Let me give you an example.
The most successful, popular novel in China, one of the Four Classic Novels, is Romance of the Three Kingdoms. It was a historic fiction written in the 14th century, with over 3,000 characters, filled with stratagems, politics, and battles. Everybody in China has read it. Countless movies and TV series are made out of it…
And there isn’t one main character.
Instead, what you see is hundreds or thousands of people, in various groups of affinity and alliances, acting on a vast canvas of historic upheaval, writing out the ethos of time, morality, courage, and intelligence with their lives. Down to the lowest of the low, is a thinking man. The most successful and highest-acclaimed Chinese movies and TV series, such as Towards the Republic, or Ming Dynasty in 1566, all follow the same literary pattern. Vast scale of thinking men without a main character, without religion, without aristocracy. No one is the center of the universe. This - is the mainstream of Chinese culture. So you tell me, how ‘translatable’ can this be to foreign countries? The Chinese masterpieces simply don’t fit with the individualistic, ‘hero vs. villain’ formula.
As to the gratuitous jab on censorship, it makes me laugh. Well, let’s take a look at the most popular movies in the world, shall we? List of highest-grossing filmsSo. Star Wars. Jurassic Park. Avengers. Well, well, well. Without overt censorship, Hollywood is not coming out with the likes of Les Misérables, is it? It is, in fact, populated by ‘super heroes’ with very big dicks and very small brains, isn’t it? Plus some genital hysterics and pyrotechnics to spice things up a bit, that’s it. In fact, among the top 50 highest-gross movies, none of them has any connection with the reality. Not a single one of them! All of them are based on fantasy! When President Trump Says His ‘Nuclear Button’ Is ‘Much Bigger’ Than North Korea’s, that was literally the most American, the most Hollywood thing to say, ever! If I were the ultimate movie villain aiming for the destruction of the mankind, I wouldn’t bother with censorship either. The Media is doing such a fine job already.

2. 罗宾 戴维德曼,世界旅行者
谢邀。一个很好的问题,让我仔细思考。
就我个人而言,我认为最精粹的中国文化不能出口,但可能一些边际或衍生的文化产品会出口到汉字文化圈的其他亚洲国家。要使中国文化对世界其他地方有吸引力,你应该考虑几个世纪才能做到,而不是几十年。
这与审查制度无关,与中国和当代流行文化之间的文化“品味”鸿沟有关。让我举个例子。“三国演义”是中国最成功、最受欢迎的四部经典小说之一。这是一部第十四世纪的历史小说,有3000多个人物。有战略、政治和战争。中国的每个人都看过了。无数的电影和电视剧都是由它制成的...
没有一个主要人物。

相反,你所看到的是成千上万的人,在各种不同的亲和力和联盟中,在一个巨大的历史剧变的画布上,写出了时间、道德、勇气和精神。揭示其本质,就是思想家。最成功和最著名的中国电影和电视剧,如《走向共和》和《大明王朝1566》,都遵循同一种文学模式。庞大的思想,没有主人公,没有宗教,没有贵族。没有人是宇宙的中心。这是中国文化的主流。所以你告诉我,怎么能把这个翻译到国外?中国的杰作根本不符合个人主义的“英雄与恶棍”的模式。

至于对审查制度的无偿援助,那让我笑了。好吧,让我们看看世界上最受欢迎的电影,好吗?最卖座的Filmso的列表:星球大战、侏罗纪公园、阿韦格 RS。好吧,好吧,好吧。事实上,它是由“超级英雄”组成的,有着“大屌”和“小脑”。事实上,在排名前50位的电影中,没有一部与现实有任何关联。所有这些都是基于幻想!当特朗普总统说他的核按钮“比朝鲜大得多”的时候,那简直是美国最好莱坞的东西。如果我是毁灭人类的坏蛋,我不会理会审查,在这一方面媒体已经做了很好的工作。

3.Paul Denlinger, Have lived in China, Taiwan and Hong Kong; fluent in Mandarin (written, spoken)
Censorship is not a big issue; please stop making it more of an issue. Japan has very strict anti-pornography laws which date from 1908, and that has not affected Japanese manga and other literary genres.
One reason censorship is not an issue is because all countries have censorship in one form or another, and they tend to censor the same things. Asian countries tend to have censorship on issues which may lead to social unrest; Thailand, China, Vietnam, Malaysia, Indonesia and Cambodia all have laws which prevent publication of content of this kind.
If you have traveled to Asian countries, and speak, read and write any Asian languages like Chinese, Japanese, Korean, Bahasa Malay, Bahasa Indonesian, Thai or Vietnamese, you would already see that there is already quite a bit of Chinese cultural influence.

3.波尔 邓林格,曾在中国、台湾和香港;普通话流利(书面和口语)
审查制度不是一个大问题,请不要再让它成为问题了。日本有非常严格的反色情法,从1908起,但并没有影响日本漫画和其他文化。

审查制度不是问题,原因是所有国家都有这样或那样的审查制度,而且它们往往审查同样的事情。亚洲国家倾向于对以下问题实行审查:可能导致社会动荡;泰国、中国、越南、马来西亚、印度尼西亚和柬埔寨都有法律禁止这类内容的公布。
如果你去过亚洲国家,会说、读、写任何亚洲语言,如中文、日文、韩文、马来文、印尼文、泰文或越南文,你可以看到那里已经有相当多的中国文化影响。

4.Joseph Boyle
Censorship of political speech is not that constraining to cheap and flexible art forms, but film regulators’ conservative tastes have put a damper on expensive movie productions that could compete internationally.
Major cultural visibility will have to come from some new genre brewed within China. By definition that will be something that wasn’t stopped by censorship, and will probably be buoyed by fan culture at least initially.

4.约瑟夫 拜伦
对政治演说的审查并不意味着对廉价和灵活的艺术形式的限制,但电影监管机构“保守的品味”却给昂贵的电影制作人带来了参与国际舞台的阻拦。
主要的文化知名度必须来自中国国内酝酿的一些新的文化类型。从定义上说,这将是一种不会被审查所阻止的东西,而且很可能会受到粉丝文化的鼓舞,至少一开始是这样。

5.Martin Dièdre, Bachelor History, Aix-Marseille University
It’s always hard to predict future particularly when it comes to a changing factor such as the evolution of the censorship in China.
The lack of longstanding cultural elite because of communist rule mainly during the 60–70’s is one of the main factor of the lack of creativity in China. Even if the cultural revolution started almost 50 years ago it did last for decades and the effects are still visible nowadays. If there is today a solid and international - and sometime alternative - intelligentsia in China, it’s a very recent factor. Plus the censorship doesn’t allow the tremendous majority of the population to easily stimulate creativity. Even if China economic boom is utterly significant, a majority of Chinese people particularly oustide of main urban centers (Shanghai and Beijing above all) still focus on financial prosperity while culture, creativity, art and so on tend to be left behind.
Japan and Korea didn’t experience that situation. Japan, principally, during the Meiji era and then the Post-war economic miracle at the opposite self-promoted its own culture and excellence. As well as Korea, later. That’s why Japan and Korea are nowadays beacon for arts, litterature, cinema, music, fashion, etc.
But if Chinese government starts to open up and allow its people to experience freedom to create without censorship, well China might become the next 21st century cultural center in Asia, which is slowly happening, but at a glacial pace.

5.马丁·迪耶德,学士历史,艾克斯-马赛大学
很难预测未来,尤其是当它涉及到改变的因素,如中国审查制度的演变。
GCZY统治导致的长期文化精英的缺乏,主要是在60&70年代,是造成中国创造力缺失的主要原因之一。即使文化大革命几乎开始于50年前,它确实持续了几十年,现在仍然可以看到这种影响。此外,审查制度不允许绝大多数人轻易地激发创造力。即使中国的经济繁荣是至关重要的,大多数中国人的粗俗之处仍然集中在金融繁荣上,而文化、创意、艺术等却往往落在后面。

日本和韩国没有经历过这种情况。日本,主要是在明治时期,然后战后的经济奇迹相反地自我推销自己的文化和卓越之处。韩国稍后也追随这一模式。这就是为什么日本和韩国现在是艺术、文坛、电影、音乐、时尚等的灯塔。
但如果中国开始开放,允许人们体验自由创造,没有审查,中国可能成为亚洲二十一世纪文化中心,这正在以冰河消融般的速度发生。

6.Kevin Mason, Management
Profound question. I believe commerce is ultimately built upon freedom of speech and respect for property rights. To the extent a society limits those, they limit their own progress and potential economic expansion. So: China though its capacity is immense, will not grow and prosper as it could/should.

6.凯文 马森,管理
深刻的问题。我相信商业最终建立在言论自由和尊重财产权利之上。在一定程度上限制了那些,他们也就限制了自己的进步和潜在的经济扩张。因此,尽管中国的能力是巨大的,但它不会像它所能/应该的那样增长和繁荣。

 
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