IP 고장극(古裝劇)의 유행 현상에 관한 일고찰

Abstract

In China, a vast number of dramas are produced each year, and costume drama featuring ancient history and events takes up one-fifth of them. Except for orthodox historical dramas that create the stories of historical events and figures based on historical records, so-called classical dramas are accounting for the majority as they take subject matters from internet fictions. This finds its material in the genre novel along with an explosive growth of internet novels after 2005. The reason for looking at the change to the popular costume drama genre adapted from an internet novel comes with typical characteristics. The characteristics involve a possible analysis of how the seizure of capital and the rearrangement of desire are structured within the link - taking place here - associated with a new social relationship created by fans, readers and authors and the industry. IP (Intellectual Property) has set firmly in as the critical mechanism across the cultural industry. Under the circumstance, this study looks into how the passion for a participation and desire for a creation make their transition to intangible resources of cultural items as they have been seized by a new form of media so-called the Internet and the method of capital called the non-material labor. The study also examines how directions and longings of internet readers as to the grand narrative during this process are replaced with a desire to consume a short story. Xuanhuan(Fantasy) drama gaining popularity draws a special attention during this process, where it is likely to be produced in large quantities while going through changes to a variety of genres based on web fictions. The genre fiction on internet fiction sites is the outcomes of database-style consumption by its own definition and demonstrates a sub-cultural development process. The phenomenon of cross media storytelling of the original work repeated by the industrial structure is a flood of overly simulacre. Thus, high fan loyalty and preferences regarding this can be referred to as a desire for simulacrum itself. Xuanhuan drama creates a political sense so-called a virtual homogeneous ‘Zhonehua’ with a focus on the classical type which adopts a Chinese style whose political, historical contexts have been removed. A combination of elements extracted form all sorts of database on Huaxia culture forms a hybrid, vague cultural identity. This develops cultural sentiments, such as integrating multi-factorial characteristics inside Chinese society into a single vague origin. The flow of industries demonstrates the arrangement of desire created by the utility of capital, effects of official disclosure and the public affect.