韩剧为何有吸引千万青年的诱惑力

But for now, the real money is to be made in Asia, be it from the established markets of Japan and Taiwan or the fast-growing demand in countries such as Vietnam and Cambodia. “US shows have specific genres – cop shows or medical shows – but we have universal stories,” says Park Man-young, a KBS producer.
但目前而言，韩剧还是要靠亚洲来赚取大部分利润——无论是成熟的日本或台湾市场，还是需求快速增长的越南和柬埔寨等国家。KBS制片人Park Man-young说：“美剧有些固定的类型——警察剧或医疗剧——但韩剧的情节很齐全。”

“All of a sudden everything is about Korea,” says Leung Yuk-ming, a cultural studies professor at Hong Kong’s Lingnan University. But while TV may have started the “Korean Wave”, she adds, the centre of attention is now K-pop – the immaculately groomed, minutely choreographed bands that have an ever tighter grip on Asia’s teen market.
香港岭南大学(Lingnan University)文化研究系助理教授梁旭明(Leung Yuk-ming)说：“突然间，韩国文化铺天盖地来了。”不过，她补充道，尽管韩剧也许开启了“韩流”，但现在最吸引观众的是K-pop（韩国流行音乐）——打扮得干干净净、舞蹈动作精心编排的乐队，在亚洲青少年当中越来越有市场。

TV companies have sought to cash in by hiring the singers to appear in their shows. “We do like to cast an ‘idol’ who appeals to the international market,” says Suh Jang-ho, a content executive at the entertainment group CJ E&M, which used the pop star Yoon Doo-joon in Let’s Eat.
电视公司已寻求利用这一趋势，他们雇佣歌手拍电视节目。娱乐集团CJ E&M内容总监Suh Jang-ho说：“我们的确希望请一位在国际市场有吸引力的‘偶像’主演。”该集团聘请了流行歌星尹斗俊(Yoon Doo-joon)加盟《一起吃饭吧》。

The likes of Mr Yoon do not come cheap. The going rate for an internationally popular star is now Won100m per episode, executives say. Cuts have to be made to accommodate the big names, notes Yoon Tae-jin, a professor at Seoul’s Yonsei University. “Suddenly the lead parts have no parents any more.”
尹斗俊等明星的身价不菲。高管们表示，目前国际级明星每集电视剧的片酬是1亿韩元。首尔延世大学(Yonsei University)教授Yoon Tae-jin指出，为了延揽大明星加盟，不得不在其他方面削减。“主角们突然间都没有父母了。”

However, the country’s idiosyncratic “live shoot” system means even the superstars are not given an easy ride. Producers typically shoot only the first few episodes of a drama before it goes to air, and they continue filming as the run proceeds.
然而，韩国另类的“随拍随播”制度意味着，就连超级明星的日子也不太好过。一部电视剧开播之前，制片公司通常只拍好了开头几集，然后边拍摄、边播放。

This enables screenwriters to develop the plot according to the audience reaction, which is tracked on social media and discussion boards on shows’ fan pages. An unpopular character might be killed off, for example.
这一制度使编剧能根据观众反应（从社交媒体和剧目粉丝网页追踪）来设计剧情。比如，某个不受欢迎的角色可能被砍掉。

Yet the system often results in cast and crew working through the night as they battle to complete filming each episode before it airs.
但这一制度往往意味着，由于每一集都要赶在开播之前制作好，演员和剧组人员往往要彻夜赶工。

“Let’s say the episode is being aired at 10pm – the filming might finish at 7pm on the same day,” says Park Tae-young, an executive producer at Samwha Networks, one of the biggest independent TV companies. “If the tape is delivered to the broadcaster late, then you just have a blank screen for one or two minutes. That happens from time to time.”
韩国最大的独立电视公司之一Samhwa Networks的执行制片人Park Tae-young说：“比如说，这一集将在晚10点播放，拍摄工作可能在下午7点才完成。如果录像带不能及时送到电视台，电视屏幕上就要出现一两分钟的空白。这种情况时有发生。”

However much the budgets grow and the stars complain, producers show no sign of abandoning the gung-ho approach that characterised the growth of other South Korean export industries decades earlier. “If we filmed it before airing, everything would take longer,” says Mr Park at KBS. “Actually, it’s a crazy practice. But we’ve been doing this for years.”
无论预算增幅多大，明星如何抱怨，但制片人并未流露出放弃这种紧张制作模式的迹象。几十年前，韩国其他出口行业在起飞阶段也出现过这种模式。KBS的Park Man-young说：“如果我们要求在开播之前制作完毕，那么一切都要花更长时间。没错，这种模式很疯狂，但我们多年来一直是这么做的。”