貢獻了眾多網(wǎng)絡金句的網(wǎng)站自制節(jié)目熱度絲毫不亞于傳統(tǒng)電視劇。從原來的無人問津，到如今的風靡一時，是什么力量在推動網(wǎng)絡劇的崛起呢?
Tuned in to streaming 網(wǎng)絡自制節(jié)目時代來臨
Chinese online video websites used to operate a ssupplementary broadcast platforms for TV stations.But now original programs independently produced by some major video sites have achieved unparalleled success.
曾經(jīng)，中國的在線視頻網(wǎng)站一直充當著電視臺的附屬播放平臺。但是現(xiàn)在，許多視頻網(wǎng)站獨立制作的原創(chuàng)節(jié)目取得了無與倫比的成功。
Domestic superhero parody film Jian Bing Man (《煎餅俠》) has just become the sixth Chinese film in history to net more than 1 billion yuan at the box office. This is largely due to the success of online mini-series Diors Man (《屌絲男士》), which airs on Sohu and was created by DongChengpeng, who directs and is the leading actor in both the series and film. Since the show went online in 2012, Dong’s funny satirical style has quickly garnered the show a large group of followers. The film gives diehard fans a chance to show their support for Dong. As an Internet catchphrase goes, “We owe Dong a film ticket.”
國產(chǎn)超級英雄喜劇電影《煎餅俠》票房成績已經(jīng)超過10億元，名列華語電影史的第六名。這很大程度上要歸功于網(wǎng)絡迷你劇《屌絲男士》的成功。搜狐視頻推出的《屌絲男士》由董成鵬制作，同時他也是該劇集以及《煎餅俠》的導演兼主演。自從2012年《屌絲男士》開播，董成鵬搞笑的諷刺表演風格，迅速吸引了一大批追隨者。電影的上映也給了鐵桿粉絲們一次機會去支持董成鵬。如同一句網(wǎng)絡口號所表達的那樣：“我們欠董成鵬一張電影票”。
Many other Internet-based shows also cater to the tastes of young audiences. Look at action and adventure drama The Lost Tomb ( 《盜墓筆記》) and time travel series The Emperor Through to the Modern (《拐個皇帝回現(xiàn)代》).
很多其他以網(wǎng)絡為基礎的劇集，也在貼合年輕觀眾的胃口，比如動作探險劇《盜墓筆記》以及穿越劇《拐個皇帝回現(xiàn)代》等。
Besides taste-tailored storytelling, online platforms have another appeal: They’re inclusive. Talkshows, debate programs, reality TV – any format that sells can be put online.
除了敘事方面很對口味，在線平臺另一個極具吸引力的特點是包羅萬象。脫口秀、辯論節(jié)目、真人秀——任何賣座的形式都可以放到網(wǎng)上。
“The Internet is a more open platform. It doesn’t draw conclusions, nor does it try to educate.It tolerates different voices,” Jiang Bin, general manager of iQiyi’s program development center,told China Daily about the popularity of self-made programs such as the website’s talk show Morning Call (《曉說》).
“互聯(lián)網(wǎng)是一個更開放的平臺?；ヂ?lián)網(wǎng)既不做結(jié)論，也不去教育人，并且可以容忍不同的聲音，”愛奇藝節(jié)目開發(fā)中心總經(jīng)理姜濱在接受《中國日報》采訪時，談到了自制節(jié)目(比如網(wǎng)絡脫口秀《曉說》)大受歡迎的原因。
Online programs also enable interaction between viewers through a system called danmu or danmaku in Japanese.
在線節(jié)目的觀眾還可以通過彈幕系統(tǒng)進行互動。
Danmaku invites viewers to type in their thoughts while watching a show and simultaneously displays the comments on everyone’s video screen. For example: “Cautious! Exciting scenes are coming soon!” “He has undertaken all the CPs (couplings) in the show!”
通過發(fā)送彈幕觀眾可以在觀看節(jié)目的同時發(fā)表自己的看法，這些評論都會實時出現(xiàn)在其他觀眾的屏幕上。比如：“前方高能預警!”“劇里所有的CP都被他承包了!”
Danmaku and other interactive functions “direct” video websites to adjust their programs. In2014 Tencent’s original music show The Hit of China (《Hi歌》), the number of virtual flowers given to contestants by users determined whether they’d go or stay.
彈幕以及其他互動功能還可以引導視頻網(wǎng)站對節(jié)目進行調(diào)整。2014年，騰訊的原創(chuàng)音樂節(jié)目《HI歌》中，觀眾通過“獻花”數(shù)量的多少可以決定選手的去留。
The year 2014 was called “the first year of the era of online shows”. But back then many assumed online shows only starred new faces and looked about as cheap as their budgets. But now all these preconceptions are being shattered. 2015 is truly giving Web series a shiny newcoat of paint.
2014年被稱為“網(wǎng)絡劇時代元年”。當時，很多人都認定，網(wǎng)絡自制劇里只有新人，水平就像制作成本那樣低。但是現(xiàn)在，這些偏見正在被打破。2015年，網(wǎng)絡劇換上了閃亮的新衣。