IP adaptation of the film in the process of why the original party has often been criticized ppbox

Why is it often criticized by the original party in the process of film adaptation of the big IP? Why is it a famous IP, which is often suffered from the scale of the original party in the process of film and television adaptation? Recently, reading group CEO Wu Wenhui, founding partner, kstngger media chairman Yang Wenhong, reading group general manager Yang Chen, vice president of the Shanghai platinum writer, the network Writers Association of Shanghai network audio-visual skeleton wizard guest 2016 season of "IP industry Salon", "IP and adaptation of mutual help" as the theme of discussion. Yang Wenhong said, grab a particularly big IP is a double-edged sword, how can the good IP development, not to make its fans become opposite, this is a very testing thing. Some buyers do not see berserk IP Yang Wenhong pointed out that the current market of IP has reached a level of "IP looting, robbing a war, so the price is very high." In her view, there is a difference between IP and no IP film and television drama, the former bought a product has been based on the crowd, is standing on the shoulder of re creation". But she believes that, as a true content production, grab IP is just a beginning, not an end, but means a lot of follow-up work. "Grab a particularly big IP, it is actually a double-edged sword, how do you good IP development, not to make it the fans of these years become your opposite, this is a very testing thing.". When it comes to the phenomenon that some famous IP are often attacked by the original party scale disease after being adapted into film and television, Yang Wenhong pointed out that when we grab the big IP, we just grab the fame and grab some of them, and some of them haven’t even seen it. "But they bought later must put this a masterpiece done in a very short time, so will pick easy to approach and foundation, the original, this may this work builds the earliest fans identity point is not the same, will lead to the original party scale disease." To this end, she repeatedly stressed that the purchase of IP, must first see, so that it will respect more original, will give it more cycles or more ideas. Yang Wenhong believes that the film and television drama adaptation to the IP story itself, to meet the existing fans and attract non fans groups, do systematic planning to tap the maximum value of IP. "We should image the text. From the kernel of the story, it’s actually that few. If you can’t let it fall, it’s easy to be vulgar." In this process, in addition to the plot, special effects of treatment, she believes that the role of actor matching and acting is also an important element to support large film and television works. IP Value Mining short line to long-term reading group CEO Wu Wenhui pointed out that, at present, China’s IP industry is undergoing three turns. Ten years ago, the first network literary works adapted into film and television works, network literature began to cross boundary derivative. Despite the fact that hundreds of thousands of licensed works have been authorized in the past, they are very few today, which means that these stories are beginning to move from a niche network of core readers to a broader mass entertainment audience." Wu Wenhui said, at that time, the work is adapted to one-way development, simple copyright sale. Today, the IP industry has apparently entered the 2 era of content connectivity

大IP改编影视化过程中 为何常遭原著党诟病为何一部知名IP,它在影视化改编过程中,常常受到原著党的垢病?近日,阅文集团CEO吴文辉,兴格传媒创始合伙人、董事长杨文红,阅文集团总经理杨晨,白金作家、上海网络作家协会副会长骷髅精灵做客2016上海网络视听季“IP 产业沙龙”,以“IP与改编剧的相互成全”为主题展开讨论。杨文红表示,抢到一个特别大的IP是一把双刃剑,怎么才能把好的IP开发好,不让它的粉丝成为对立面,这是非常具有考验的事情。有的买家不看就疯抢IP 杨文红指出,目前市场对IP已经达到了一个哄抢的程度,“IP的抢夺成为一种战争,所以价格非常高。”在她看来,有IP和无IP影视剧的差别在于,前者买到了一个已有人群基础的产品,是“站在肩膀上的再创作”。不过她认为,作为真正内容制作来讲,抢到IP仅仅是一个开始,不是一个结束,而是意味着后续非常多的工作。“抢到一个特别大的IP,它实际上也是一个双刃剑,你怎么把好的IP开发好,不让它当年的这些粉丝成为你的对立面,这是非常具有考验的事情。在谈到目前一些知名IP在被改编成影视后常常遭到原著党垢病的现象时,杨文红指出,大家在抢大IP的时候,只是听到名气就去抢,有些甚至还没有看过。“但是他们买下以后又必须在很短的时间里把这个鸿篇巨制做出来,所以会挑比较容易架构的方式,这样可能和原来这部作品最早建立的基础、粉丝所认同的点是不一样的,就会导致被原著党垢病。”为此她再三强调,购买IP的时候,一定要先看过,这样就会更加尊重原创,会给它更多周期或者更多的想法。杨文红认为,影视剧改编要忠于IP故事本身,满足现有粉丝并吸引非粉丝群体,做好系统规划以挖掘IP最大价值。“我们应该把文字进行影像化。从故事的内核来说,它其实就是那么几种。如果不能让想象落地,它容易庸俗化。”而在这过程中,除了情节、特效的处理,她认为演员的角色匹配性和演技也是支撑大影视作品的重要元素。IP价值挖掘短线走向长线阅文集团CEO吴文辉指出,目前中国的IP产业正在发生三个转向。十年前,第一部网络文学作品改编成为影视作品,网络文学从此开始了跨界的衍生。“尽管顶级作品在当初的授权只有几十万,在今天看来非常少,却意味着这些故事开始从小众的网络核心读者走向更广泛的大众娱乐用户。”吴文辉说,当时作品改编还是以单向开发、版权简单售卖为主。而今天,IP产业显然已经进入了“内容连接”的2.0时代,IP价值的挖掘由短线走向了长线开发。“由于IP本身的局限性,当一本书写完、一个电视剧开发完,当‘全书完’、‘全剧终’三个字出现的时候,IP的一次开发就结束了。与之相比的是美国的漫威模式,它已经连载了几十年,故事源源不断,一个英雄诞生了另外一个英雄,甚至构建了整个宇宙。”吴文辉认为,这种构建世界观的方式是未来超级IP的方向。“故事能够源远流长,不断长出新的故事,一个主角写完了,很自然地开始另一个主角的故事,他们共同在一个世界观体系之下。而这一庞大的世界观,可以自然地将文学、影视、游戏、动画、主题公园等多方合伙人联结在一起。”市场太热让作家陷入纠结IP市场大热,对作家写作带来了什么影响呢?刚刚推出新作《斗战狂潮》的阅文集团白金作家骷髅精灵说,自己从大四刚从事网络文学创作的时候什么都没有想过,完全是凭兴趣。现在IP发展到如此成功,他坦言,“在写自己的第十本新书《斗战狂潮》时,我陷入了一些纠结,想的东西太多,要考虑市场,要考虑读者,要考虑很多东西,我就遇到瓶颈,不知道该写什么。直到有一天我年幼的女儿看到我在电脑面前坐着,她说,‘爸爸,工作要开心。’那一瞬间我顿悟了,创作是发自内心要快乐。”骷髅精灵表示,“现在IP改编大潮,当然希望自己的作品能够改编成电影大红大紫,但还是要掌握平衡,做好自己创作的事情,然后找到比较契合的合作伙伴。作者就是写故事,专业的打造交给专业的人是最好的,我觉得很关键的一点,那就是二次改编的时候跟原作者的沟通。因为网络文学是一种概念,改编成电视剧、改编成电影都是二次创作,它会发生很大的变化,如何让这种变化是自然的、最符合原著又能最符合电视剧、电影这个题材,其实就靠沟通。” 转播到腾讯微博 在魔都看演出聊八卦 扫我就对啦~ 回复“八卦”、“娱乐”:获取最新娱乐八卦消息 回复“演出”、“门票”:了解最新资讯 扫描左侧二维码,关注上海活动微信,更有免费演出门票等你来领取相关的主题文章: