소설 「도정호(都挺好)」의 IP 각색 전략과 문화정치
The Adaptation Strategy and Cultural Politics in the Case of China’s IP Drama All is Well
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Unlike existing research on the drama All is Well has highlighted one aspect in China’s political and cultural conditions, focusing on subject consciousness such as family ethics and character analysis, this study focused on the story prosperity of cross-media storytelling and the adaptation as a venue for cultural practices of various power entities. The IP drama All is Well basically attempted to “rewrite” the original story by “modifying” and partially “expanding” the spatiotemporal background elements while repeating same story and world with the original story. In this paper, it was reviewed by dividing it into temporal and spatial factors, and as a result, it was confirmed that the problem of family ethics centered on Su’s mother and Su Mingyu was reconstructed and a new narrative space called Suzhou was created. In addition, this was explained in the media environment of state-run satellite TV channels and private web platforms, and further confirmed the social participation and play of consumer subjects who act and participate with the identity of fans outside the text.
Abstract
Unlike existing research on the drama All is Well has highlighted one aspect in China’s political and cultural conditions, focusing on subject consciousness such as family ethics and character analysis, this study focused on the story prosperity of cross-media storytelling and the adaptation as a venue for cultural practices of various power entities. The IP drama All is Well basically attempted to “rewrite” the original story by “modifying” and partially “expanding” the spatiotemporal background elements while repeating same story and world with the original story. In this paper, it was reviewed by dividing it into temporal and spatial factors, and as a result, it was confirmed that the problem of family ethics centered on Su’s mother and Su Mingyu was reconstructed and a new narrative space called Suzhou was created. In addition, this was explained in the media environment of state-run satellite TV channels and private web platforms, and further confirmed the social participation and play of consumer subjects who act and participate with the identity of fans outside the text.
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