중국 텐센트 그룹의 범오락 IP 문화산업 전략에 대한 연구

Abstract

This paper examines the development of China's game culture industry based on IT. As a result, China's IT-based cultural industry forms a unique ecosystem through IP, and the growth rate is very fast. Currently, China is showing a strong will to become a cultural powerhouse. Cultural prosperity has been a topic that has been raised steadily since New China. Tencent Group's pan-entertainment is an important concept that started as a marketing strategy for private companies, accepted the government's cultural policy, and became a sector of Chinese cultural industry. The starting point of pan-entertainment is the fandom economy that promotes the development of related cultural products, focusing on Star IP. The development of the pan-entertainment cultural industry ecosystem centered on IP can be divided into three stages. The first stage (2011-2017) is the time when pan-entertainment appeared and proved its achievements. Tencent confirmed the effectiveness of pan-entertainment through the children's online community Rocco Kingdom, which was launched in 2010. The second stage (2018-2020) is when the government shows great interest in the cultural industry and companies respond to it. In 2017, the National Congress of the Communist Party pointed out the contradiction between material and spiritual civilization, and Tencent quickly responded to it, suggesting a Xinwenchuang strategy that values cultural values from 2018. Phase 3 (2021-present) is a time when environmental improvement for the creator public emerges as a major issue. Realizing the shortage of talent, Tencent proposed a Da Yuewen strategy to improve its subsidiary Yuewen platform into a creator-friendly environment and strengthen talent development and support from 2021. The following characteristics can be read in the pan-entertainment phenomenon that is driving the rapid growth of the Chinese cultural industry. First, the company's marketing strategy drove the direction of the country's cultural policy. Second, we can think of the government's dual attitude of open acceptance and control. The government quickly read the changes in the market and actively supported the formation of an ecosystem of the cultural industry represented by pan-entertainment. In addition, when harmful effects such as pan-entertainmentism appeared, they pointed out this and mobilized strong sanctions. Third is the cultural phenomenon of self-sufficiency. Pan-entertainment is a strategy that started by borrowing cultural aspects of advanced countries, including Disney in the United States. While borrowing Western ideas, Chinese private companies developed a Chinese-style strategy by adding Chinese elements.