China's "Pure online Drama" goes out to sea for the first time and Netflix buys the overseas distribution right of "chasing the Killer in the White Night"

Netflix has bought the overseas distribution rights of Youku's homemade drama "the Night," and plans to broadcast the show in more than 190 countries it has entered.

A few days ago, it was reported that Netflix had bought the overseas distribution rights of Youku's homemade drama "the Night," a TV series starring Pan Yueming, which has caused a huge response since it was broadcast online on August 30 this year. On November 30th, Yang Weidong, rotating president of Alibaba Culture and Entertainment Group and president of Dayouku Business Group, confirmed the news. It is reported that Netflix plans to broadcast the TV series in more than 190 countries it has entered.

for the pure online drama market, this is undoubtedly a benchmark event. This means that the quality of Chinese online dramas has been recognized by international mainstream platforms, Peng Kan, director of R & D consulting of Lezheng Media, said in an interview with reporters. Chinese online dramas have begun to enter the era of boutique competition.

< strong > important milestones in the video industry < / strong >

before "White Night", many Chinese movies and TV dramas were sold overseas, such as "Zhen Huan" and "Nirvana in Fire". While TV dramas that went out to sea in previous years were all broadcast in the mode of "station network", it can be said that "chasing the killer in the white night" was the first pure online drama to go overseas.

the key to the success of Chinese online dramas lies in the core innovation of Chinese stories, Cao Haitao, a well-known investor in the field of science, technology and culture, said in an interview with reporters.

Peng Kan told reporters that in the domestic film and television market in the future, the concept of "TV series" will gradually fade away. After online dramas are gradually integrated with traditional TV dramas, "dramas" based on Internet genes will become the mainstream.

in April this year, Yang Weidong broke the media restrictions and put forward the concept of "super drama" for the first time. Yang Weidong believes that after breaking down the barriers brought by the media, the vetting standards for future dramas will tend to be unified. Based on this, according to different target users, broadcast media and business models, Yang Weidong further divided the series into prime time series, super series and online dramas. Among them, super dramas and online dramas will have more innovations and attempts in theme types and business models.

"in the second half of the big video, fighting alone can no longer cope with the changes and needs of the market. Only by connecting the upstream and downstream of the industry with each other, expanding growth, and fighting in groups, can we accumulate our own advantages and competitiveness on the whole link." Yang Weidong further emphasized.

behind the success of "chasing murderers by Night" is the outbreak of cultural and recreational ecological power. As Yang Weidong said, "chasing the Killer in the Night" is supported by the whole ecology in terms of production, publicity, user operation, business model and so on. The upstream and downstream of the industry connect with each other, so that the IP of this online drama is constantly magnified and finally transformed into user word-of-mouth and commercial value.

< strong > Technology-driven industrial upgrading < / strong >

while the audio-visual industry is booming, performance is also a key link. From the performance of financial data, the number of users, revenue and profit of Netflix have increased rapidly in recent years. Netflix reported revenue of $2.99 billion in the third quarter of fiscal 2017, up 30.3% from a year earlier, and net profit of $130 million, up 150% from a year earlier.

on the contrary, the user scale and business income of iqiyi, Tencent Video and Youku video are gradually rising, but the cost is growing faster. It can be said that domestic video websites have not yet made a profit.

Peng Kan believes that the performance of video websites is quite different at home and abroad, mainly for two reasons: first, the business model is different, most of the income of Netflix comes from paying users, while the payment habits of Chinese audiences have just begun to develop, and have not yet formed a large-scale effect. Second, the development period of the cultural industry is different, the American public has a relatively high acceptance of cultural consumption, there is a relatively perfect copyright protection system, and the model of online video has become mature, while China's copyright protection is still in its infancy and needs to be improved. Under the self-exploration and user training of Chinese video websites, there is still hope for local profits.

the combination of numbers and content is pushing the audio-visual industry into a new era. In Yang Weidong's view, three core changes are taking place in China's audio-visual industry: first, "user" takes the place of "audience" as the keyword. Business models such as content marketing production, data marketing, member payment and derivative development all focus on "user portraits". Second, the platform and the content side from production and purchase to symbiosis, "user-centered" requires the content side and the platform side to focus on the content, in the production, distribution, user operation, business model and other aspects to do long-term coordination, in-depth understanding of the data; third, the entertainment industry from single to ecological, the future large-scale entertainment will become the norm of a network audio-visual industry, the integration industry upstream and downstream connect with each other. The above changes are all the result of technology-driven.

Tian Jin, deputy director of the State Administration of Press, publication, Radio, Film and Television, said that the network audio-visual industry has become an important engine for implementing innovation-driven strategies and fostering a new economy. More and more private institutions and social capital are constantly invested in the network audio-visual creation and production, and more and more new technologies and products are constantly applied to the network audio-visual production and communication. more and more talents and fresh forces in all fields continue to join the network audio-visual industry.

Edit: mary