Original title: The Flow star operating model destroys true literary criticism
With profound industrial reforms, the entertainment industry should return to professionalism, common sense and work.
The butterfly effect caused by the Wu Yifan incident allows us to see that a large industry was born around the traffic stars. Currently, its base is loosening.
Recently, the Central Propaganda Department and five other departments jointly issued a document stating the need to make professional and credible literary and artistic commentaries, “not only for marketing, but artistic standards cannot be replaced by simple commercial standards,” and stressed “resisting flattering and vulgar comments., oppose the poor phenomenon of point checking, control and evaluation.”
The fun ecology has collapsed under the traffic stick
Fan operation is one of the important departments in the traffic star model. Organizing and mobilizing fans to scan data is one of the central tasks of fan operation. Due to the lack of business capacity of traffic stars, the evaluation of controls has become a necessary option to maintain the commercial value of traffic stars.
Control and evaluation was created by a public relations firm. The public relations company is responsible for leveling the mainstream media, influencing website scoring, using market accounts to engage in word-of-mouth marketing, creating rumors to discredit competitors, especially to mobilize fans for competition. In recent years, artists have wanted to compete for fandom, but they have emerged as fans: fans attack critics and even encourage human criticism, and internet chaos has become unmanageable.
In the end, the Flow Star operating model hopes to eliminate literary criticism, leaving only marketing accounts and fan comments. In recent years, fans have interfered with genuine literary criticism, resulting in silence in the industry and pollution of the new media scoring system.
A closed-loop industry that relies on resources rather than capacity
Traffic stars can easily gain enormous wealth at an early age. They can also become leading players without playing and even win prizes. This gives them the illusion that he is “himself omnipotent”. The long-term dramatic production and buy-and-sell mechanism, based on the traffic star model, deepened their illusions. When drama has traffic, celebrities invest and can sell. Currently, the scenario doesn’t matter at all, and celebrities have almost become the only price standard.
Therefore, in contrast to this long dramatic production model focused on traffic stars, its content must be hollow and suspended. Although this kind of model has given birth to and invented a lot of cultural waste in recent years, this kind of drama has allowed the producer to earn a lot of money. However, it should be noted that several major video platforms have been lost.
In the general state of general industry losses, some manufacturing organizations, traffic stars, and some people on the platform have become beneficiaries of large profits. The production of film and television content focused on traffic stars must be established on the basis of a monopoly: from creativity, creation, production, art management to marketing, distribution and broadcasting, it must form a closed loop, produce and sell. This mechanism creates wonderful data in the capital market by increasing the cost and selling price of episodes. This process creates a huge gray area and profits from it.
From this perspective, it is easier to understand where the high salaries of traffic stars come from. Research has shown that audiences who love acting actors are often relatively mature, have certain content requirements, and have certain thinking abilities. Although their consumption is higher, their aesthetic abilities and content requirements will lead to creative risks. “Problems” such as magnification, uncontrolled content and mode of unrepeatable content.
In contrast, traffic stars attract fans who lack the ability to think and focus only on appearance as a consumer group. Although their consumption power is relatively low, they are easily mobilized and mobilized, and they do not mind participating in activities such as data fraud. With this type of operations, a stable business model can be realized.
The entertainment industry should get back on track and work
Looking back at the traffic stars, they lack professional and similar training. They are involved in film and television work across the industry, but have gained important roles. They appear as central personalities on mainstream platforms and form a major demonstration effect. Young people want to participate in an audition program organized by the platform, hoping to become famous overnight. Four years of vocational training in vocational schools is no longer the first choice of young people. Looking for a good brokerage company, looking for a platform with high exposure, far This is much more important than the vocational training that led to the collapse of the industry.
The personal profitability of traffic stars is very strong, but the profitability of content is often negative, and the box office loses catastrophically as soon as a movie is shown. Currently, the best example of commercial implementation is the digital recording aspect. The unit price of digital records is low, and sales are gained by repeatedly buying fans. But the song itself is not popular and no one listens to it, so a new relationship emerges between the content and the performer: the artist is the main body, the artist is the product and the record, the film and drama in which the artist participates. are derivatives. The best way for an artist to communicate with a user Not film and music content, but a reality show.
Today, Wu Yifan is just an appearance, and the capital logic behind it requires us to be vigilant, as they hinder the healthy and orderly development of the film and television cultural industry, and at the same time the biggest enemy of the current cultural industry is content upgrades. With profound industrial reforms, professionalism, common sense and work must be restored to the cultural and entertainment industries.
Ang Wang Hailin (screenwriter)