韓流如何悄然重塑中國流行文化

標題：

How Korea Quietly Reshaped Chinese Pop Culture

韓國如何悄然重塑中國流行文化

導讀：

Even in the face of

geopolitical tensions

, the Korean culture wave shows no signs of

receding

即使面對地緣政治緊張局勢，韓國文化浪潮也沒有消退的跡象。

正文：

As K-pop star Jay Park prepared to

take the stage

at a Shanghai

nightclub

this May, the entire room

buzzed with anticipation

. Videos of
Park’s performance began

circulating

on social media almost immediately,
shared by one excited K-pop fan after another.

今年五月,

當K-pop明星Jay Park準備在上海一家夜總會登臺時，整個房間都充滿了期待。Park表演的影片

被一個又一個興奮的K-pop粉絲分享，使其

幾乎立即開始在社交媒體上流傳。

Park
is popular in China, but that alone can’t explain the

intensity

of the
response to his show, which extended well beyond his own circle of fans.
Rather, it was what the show seemed to

portend

: By becoming one of the
first Korean stars to perform on the Chinese mainland since Korea agreed
to

deploy

the United States’ Terminal High Altitude Area Defense
(THAAD) system on its territory in 2016, Park gave China’s K-pop,
K-drama, and Korean cinema fans

renewed

hope that they could, one day
soon, see their favorite stars

in person

Park在中國很受歡迎，但僅憑這一點並不能解釋對他的節目反應的激烈程度，這遠遠超出了他自己的粉絲圈子。相反，這正是該節目似乎預示的：自2016年韓國同意在其領土上部署美國的終端高空區域防禦系統即薩德THAAD以來，Park成為首批在中國大陸上表演的韓國明星之一，這給中國的K-pop，K-drama和韓國電影迷帶來了新的希望——不久的一天，

他們可以

親眼看到他們最喜歡的明星。

Korean
popular culture occupies a unique space on the Chinese mainland, where
its rise

dovetailed with

China’s economic expansion and growing demand
for popular entertainment. The scholar Brian Yecies once wrote that,
“Korea’s global experience and success with its own brand of soft power
has been

instrumental

in developing its collaborative relationship with
China.” Indeed, by the early 2010s, Korean influences were everywhere in
Chinese pop culture, from music to TV and film. The Chinese term for
this Korean pop culture wave,

hanliu

, even made its way back into Korean as

hallyu

— now a widely used

catch-all

term for the country’s

cultural might

韓國流行文化在中國大陸上佔據著獨有的空間，其崛起與中國經濟發展和對流行娛樂日益增長的需求相吻合。學者布萊恩·葉西斯曾經寫道：“韓國的全球經驗和憑藉自己的軟實力品牌取得的成功有助於發展與中國的合作關係。事實上，到2010年代初，韓國的影響在中國流行文化中無處不在，從音樂到電視和電影。韓國流行文化浪潮的中文術語"韓流"甚至回到了韓語中，稱為韓流（hallyu），現在是一個廣泛使用的包羅永珍的國家文化力量的統稱。

In academic circles, cultural waves like

hallyu

are generally considered

transient

. But one of the most

notable
characteristics

of Korean pop culture, and its screen culture in
particular, is its

resilience

Hallyu

has

persisted

on the Chinese mainland through multiple periods of

backlash

and restriction, in part by evolving from a primarily Korean
export commodity into an

interlaced

incorporative

, collaborative
audiovisual relation — a cultural

paradigm

capable of surviving and
thriving even in the face of

bilateral tensions

在學術界，像韓流這樣的文化浪潮通常被認為是短暫的。但韓國流行文化，尤其是銀幕文化最顯著的特徵之一是它的韌性。韓流在多次反彈和限制時期依然能風靡中國大陸，部分原因是從一種主要的韓國出口商品演變為一種交錯的、融合的、協作的視聽關係——一種即使在雙邊緊張局勢面前也能生存和繁榮的文化正規化。

The
rise of Korean pop culture in the early 1990s came at a

serendipitous

time in China’s development. Television became an increasingly important
medium on the Chinese mainland after 1987, while China’s

transition

from a planned to a market economy beginning in 1992

set the stage for

the import of popular programs from elsewhere in Asia. The first Korean

TV series

arrived in China the following year, followed in the second
half of the decade by crowd-pleasers like “What is Love,” “Star in My
Heart,” and “Model.”

1990年代初韓國流行文化的興起，正值中國發展的一個偶然時刻。1987年後，電視成為中國大陸上越來越重要的媒體，而中國從1992年開始從計劃經濟向市場經濟的過渡，為從亞洲其他地區進口流行節目奠定了基礎。第二年，第一部韓國電視劇來到中國，緊隨其後的是這十年後半段引入的《愛是什麼》、《我心中的星星》和《模特》等討人喜歡的電視劇。

The
shows marked the start of a roughly 20-year period of flourishing

collaboration

between the Korean cultural industry and its Chinese

counterpart

. By the 2010s, many of the

biggest names

in Chinese
entertainment, from

the hit variety show

“Hurry Up, Brother” to the

celebrity family show

“Where Are We Going, Dad?” and the

military-themed
reality show

“Takes a Real Man,” could

trace their roots to

Korea.

這些娛樂節目標誌著韓國文化產業與中國文化產業之間大約20年蓬勃發展的合作的開始。到2010年代，中國娛樂界的許多叫得上名號的節目，其根源都可以追溯到韓國，其中包括熱門綜藝節目《奔跑吧兄弟》，名人家庭節目《爸爸!我們去哪兒？》和軍事主題真人秀《真正男子漢》。

This
period of exchange came to an abrupt halt in 2016. It would be nearly
five years before another Korean film was screened on the mainland, six
before another Korean drama premiered on a mainland streaming platform,
and even longer before singers like Park began trickling back. Yet the
borrowing continued, albeit not always

with the permission of the

rightsholders

: iQiyi’s reality rap
competition “The Rap of China”

bears a clear resemblance to

South
Korea’s “Show Me the Money,” for example, while the countryside-set
variety show “Back to Field” looks remarkably similar to South Korea’s
“Three Meals a Day.”

這一交換期在2016年戛然而止。

將近五年後，才有另一部韓國電影在內地上映，六年後才有另一部韓劇在內地流媒體平臺首播，而像Park這樣的韓國娛樂明星開始重回華語圈的時間則更長。

In
a departure from previous Chinese national

frenzies

over K-dramas or
K-pop, the popularity of Chinese

remakes

of Korean television programs
represents a new, quieter but no less important expression of

hallyu

— what I call an “

amnyu

,” or an

undercurrent

of Korean cultural presence.

Hallyu

is so

ubiquitous

, and has so reshaped the

contours

of Chinese screen
culture, that its Korean origins

go unnoticed

or unremarked upon,
allowing them to continue to

exert influence

, albeit under a different
name.

與以往中國對韓劇或韓流的狂熱不同，中國翻拍的韓國電視節目的流行代表了韓流的一種新的、更安靜但同樣重要的表達——我稱之為“Amnyu”，即韓國文化存在的暗流。韓流無處不在，重塑了中國銀幕文化的輪廓，以至於它的韓國起源被忽視，使它們能夠繼續發揮影響力，儘管名稱不同。

The
classic example of this process might be “Hurry Up, Brother.” An
officially licensed remake of the phenomenally popular Korean series
“Running Man,” its arrival on Chinese screens in 2014 changed China’s
television industry. According to Korean analyses

of the remake’s success, “Hurry Up, Brother” benefitted from a lack of
competition: Its emphasis on on-location, outdoors, apparently
unscripted shoots was unique among Chinese television programs.

Prior to

the show’s premiere, Chinese reality TV was dominated by more serious

fare

dealing with social concerns. The

improvisational

light-hearted

“Hurry Up, Brother”

struck a chord

and awakened a desire for more
entertaining — and less

didactic

— programming.

這個過程的典型例子可能是

《奔跑吧兄弟》

。作為對廣受歡迎的韓國綜藝節目Running

Man的官方授權翻拍，它於2014年登上中國銀幕，改變了中國的電視業。根據韓國對翻拍成功的分析，

《奔跑吧兄弟》

得益於缺乏競爭：它強調外景地、戶外、顯然沒有劇本的拍攝，這在中國電視節目中是獨一無二的。在節目首播之前，中國真人秀節目以處理

更嚴肅的

社會問題為主。即興、輕鬆的

《奔跑吧兄弟》

引起了共鳴，並喚醒了對更多娛樂性——而不是說教性——節目的渴望。

The
appeal of shows like “Hurry Up, Brother” didn’t simply disappear with
the arrival of THAAD on the Korean

peninsula

. Rather, it survived in a
changed form. The 2017

press conference

for the first season of “Keep
Running” — “Hurry Up, Brother”

shorn

of its Korean

baggage

— was filmed
in the small northwestern city of Yan’an, the

cradle

of China’s
Communist Revolution. So was the season’s fifth episode, which saw its

cast

of celebrities go on a “red tour” of Yan’an’s

revolutionary sites

and sing the well-known red song “Defend the Yellow River.”

像

《奔跑吧兄弟》

這樣的節目的吸引力並沒有隨著薩德在朝鮮半島的到來而消失。相反，它以改變的形式倖存下來。2017年

《奔跑吧兄弟》

第一季的新聞釋出會——

《奔跑吧兄弟》

被甩掉了韓國包袱——是在西北小城延安拍攝的，延安是中國共產主義革命的搖籃。本季的第五集也是如此，明星們前往延安革命遺址進行“紅色之旅”，並演唱了著名的紅色歌曲“保衛黃河”。

The
result is a kind of Korean reality program with Chinese
characteristics. While maintaining the aesthetic and

affective

qualities
of the Korean original, the post-2016 version of “Hurry Up, Brother”
adjusts the format to

incorporate

more political and social elements,
positioning it to

mediate

between

solemn patriotism

and

contemporary
sensibilities

, as well as between official narratives and aesthetic
enjoyment.

結果是一種具有中國特色的韓國真人秀節目。2016年之後

《奔跑吧兄弟》

在保持韓國原作的審美和情感特質的同時，調整了格式，融入了更多的政治和社會元素，將其定位為在莊嚴的愛國主義與當代情感之間，在官方敘事與審美享受之間進行調解。

This
trend is evident not only in the production of Chinese remakes of
Korean variety shows, but across a wide range of Chinese programming,
including in unexpected genres like

archaeology

. As part of China’s

renewed

emphasis on its history, for instance, the 2017 program
“National Treasure” became the first show produced by state broadcaster
CCTV to combine serious scholarship with a humorous tone.

這種趨勢不僅在韓國綜藝節目的中國翻拍製作中很明顯，而且在廣泛的中文節目中也很明顯，包括考古學等意想不到的型別。例如，作為中國重新強調其歷史的一部分，2017年的節目“國家寶藏”成為國家廣播公司中央電視臺製作的第一部將嚴肅的學術與幽默的語氣相結合的節目。

A
more recent example is last year’s “Infinity and Beyond,” a music-based
reality show that

paid tribute to

the 25th anniversary of Hong Kong’s
return to China. A second season, released this year, paid tribute to
the music of Taiwan. Although not a remake, the show’s mainland-based
production team

featured

a number of

veterans

of past Korean
adaptations, including the Chinese versions of Korean programs “I Am a
Singer” and “King of Mask Singer.” The influence of those programs —
particularly the affective aesthetics of “I Am a Singer” —

loom large

in
“Infinity and Beyond,” which uses song to evoke feelings of

nostalgia

and

sentimentality

最近的一個例子是去年的“無限與超越”，這是一個基於音樂的真人秀節目，向香港迴歸25週年致敬。今年發行的第二季向臺灣音樂致敬。雖然不是翻拍，但該節目的內地製作團隊擁有許多過去韓國改編的老手，包括韓國節目《我是歌手》和《面具歌手之王》的中文版。這些節目的影響——尤其是《我是歌手》的情感美學——在《無限與超越》中顯得尤為突出，它用歌曲來喚起懷舊和多愁善感的感覺。

The American political scientist Joseph S. Nye once defined national soft power rivalry as a competition to see “whose story wins.” Hallyu
has been conducive to shaping and reshaping South Korea’s national
image both within and outside of its borders, something China has long
aspired to do. In 2014, in recognition of the nationwide frenzy over the
Korean TV drama “My Love from the Star,” members of the National
People’s Congress discussed how Korea had succeeded in developing its soft power. That same year, Chinese president Xi Jinping announced

an intention to “increase China’s soft power, give a good Chinese
narrative, and better communicate China’s messages to the world.”

美國政治學家約瑟夫·S·奈（Joseph
S.
Nye）曾經將國家軟實力競爭定義為看“誰的故事獲勝”的競爭。韓流一直有利於塑造和重塑韓國境內外的國家形象，這是中國長期以來一直渴望做的事情。2014年，在意識到韓國電視劇《我的愛來自星星》的全國性狂熱後，全國人民代表大會成員討論了韓國如何成功地發展其軟實力。同年，中國國家主席習近平宣佈有意“增強中國的軟實力，提供良好的中國敘事，更好地向世界傳達中國的資訊”。

Sanctioned

or not, Korean pop cultural references have played a key role in that effort. The transition from

hallyu

amnyu

is not just a story of how Korean pop culture has adapted and thrived
in China during a time of bilateral tensions; rather, it represents a
significant redefinition of

hallyu

itself, as we must recognize the broader scope of its significance in
China. If South Korea is a cultural rival, it is also a reference and a

benchmark

that has already changed the landscape of Chinese pop culture.

無論是否受到制裁，韓國流行文化都在這一努力中發揮了關鍵作用。從韓流到暗流的轉變不僅僅是一個關於韓國流行文化如何在雙邊緊張局勢時期在中國適應和繁榮的故事; 相反，它代表了對韓流本身的重大重新定義，因為我們必須認識到它在中國更廣泛的意義。如果說韓國是一個文化對手，那麼它也是一個

改變了中國流行文化格局的

參照物和標杆。