标题：

How Korea Quietly Reshaped Chinese Pop Culture

韩国如何悄然重塑中国流行文化

导读：
Even in the face of
geopolitical tensions
, the Korean culture wave shows no signs of
receding
.

即使面对地缘政治紧张局势，韩国文化浪潮也没有消退的迹象。

正文：
As K-pop star Jay Park prepared to
take the stage
at a Shanghai
nightclub
this May, the entire room
buzzed with anticipation
. Videos of Park’s performance began
circulating
on social media almost immediately, shared by one excited K-pop fan after another.

今年五月,
当K-pop明星Jay Park准备在上海一家夜总会登台时，整个房间都充满了期待。Park表演的视频
被一个又一个兴奋的K-pop粉丝分享，使其
几乎立即开始在社交媒体上流传。
Park is popular in China, but that alone can’t explain the
intensity
of the response to his show, which extended well beyond his own circle of fans. Rather, it was what the show seemed to
portend
: By becoming one of the first Korean stars to perform on the Chinese mainland since Korea agreed to
deploy
the United States’ Terminal High Altitude Area Defense (THAAD) system on its territory in 2016, Park gave China’s K-pop, K-drama, and Korean cinema fans
renewed
hope that they could, one day soon, see their favorite stars
in person
.

Park在中国很受欢迎，但仅凭这一点并不能解释对他的节目反应的激烈程度，这远远超出了他自己的粉丝圈子。相反，这正是该节目似乎预示的：自2016年韩国同意在其领土上部署美国的终端高空区域防御系统即萨德THAAD以来，Park成为首批在中国大陆上表演的韩国明星之一，这给中国的K-pop，K-drama和韩国电影迷带来了新的希望——不久的一天，
他们可以
亲眼看到他们最喜欢的明星。
Korean popular culture occupies a unique space on the Chinese mainland, where its rise
dovetailed with
China’s economic expansion and growing demand for popular entertainment. The scholar Brian Yecies once wrote that, “Korea’s global experience and success with its own brand of soft power has been
instrumental
in developing its collaborative relationship with China.” Indeed, by the early 2010s, Korean influences were everywhere in Chinese pop culture, from music to TV and film. The Chinese term for this Korean pop culture wave,
hanliu
, even made its way back into Korean as
hallyu
— now a widely used
catch-all
term for the country’s
cultural might
.

韩国流行文化在中国大陆上占据着独有的空间，其崛起与中国经济发展和对流行娱乐日益增长的需求相吻合。学者布莱恩·叶西斯曾经写道：“韩国的全球经验和凭借自己的软实力品牌取得的成功有助于发展与中国的合作关系。事实上，到2010年代初，韩国的影响在中国流行文化中无处不在，从音乐到电视和电影。韩国流行文化浪潮的中文术语"韩流"甚至回到了韩语中，称为韩流（hallyu），现在是一个广泛使用的包罗万象的国家文化力量的统称。

In academic circles, cultural waves like
hallyu
are generally considered
transient
. But one of the most
notable characteristics
of Korean pop culture, and its screen culture in particular, is its
resilience
.
Hallyu
has
persisted
on the Chinese mainland through multiple periods of
backlash
and restriction, in part by evolving from a primarily Korean export commodity into an
interlaced
,
incorporative
, collaborative audiovisual relation — a cultural
paradigm
capable of surviving and thriving even in the face of
bilateral tensions
.

在学术界，像韩流这样的文化浪潮通常被认为是短暂的。但韩国流行文化，尤其是银幕文化最显着的特征之一是它的韧性。韩流在多次反弹和限制时期依然能风靡中国大陆，部分原因是从一种主要的韩国出口商品演变为一种交错的、融合的、协作的视听关系——一种即使在双边紧张局势面前也能生存和繁荣的文化范式。
The rise of Korean pop culture in the early 1990s came at a
serendipitous
time in China’s development. Television became an increasingly important medium on the Chinese mainland after 1987, while China’s
transition
from a planned to a market economy beginning in 1992
set the stage for
the import of popular programs from elsewhere in Asia. The first Korean
TV series
arrived in China the following year, followed in the second half of the decade by crowd-pleasers like “What is Love,” “Star in My Heart,” and “Model.”

1990年代初韩国流行文化的兴起，正值中国发展的一个偶然时刻。1987年后，电视成为中国大陆上越来越重要的媒体，而中国从1992年开始从计划经济向市场经济的过渡，为从亚洲其他地区进口流行节目奠定了基础。第二年，第一部韩国电视剧来到中国，紧随其后的是这十年后半段引入的《爱是什么》、《我心中的星星》和《模特》等讨人喜欢的电视剧。

The shows marked the start of a roughly 20-year period of flourishing
collaboration
between the Korean cultural industry and its Chinese
counterpart
. By the 2010s, many of the
biggest names
in Chinese entertainment, from
the hit variety show
“Hurry Up, Brother” to the
celebrity family show
“Where Are We Going, Dad?” and the
military-themed reality show
“Takes a Real Man,” could
trace their roots to
Korea.

这些娱乐节目标志着韩国文化产业与中国文化产业之间大约20年蓬勃发展的合作的开始。到2010年代，中国娱乐界的许多叫得上名号的节目，其根源都可以追溯到韩国，其中包括热门综艺节目《奔跑吧兄弟》，名人家庭节目《爸爸!我们去哪儿？》和军事主题真人秀《真正男子汉》 。
This period of exchange came to an abrupt halt in 2016. It would be nearly five years before another Korean film was screened on the mainland, six before another Korean drama premiered on a mainland streaming platform, and even longer before singers like Park began trickling back. Yet the borrowing continued, albeit not always
with the permission of the
rightsholders
: iQiyi’s reality rap competition “The Rap of China”
bears a clear resemblance to
South Korea’s “Show Me the Money,” for example, while the countryside-set variety show “Back to Field” looks remarkably similar to South Korea’s “Three Meals a Day.”

这一交换期在2016年戛然而止。
将近五年后，才有另一部韩国电影在内地上映，六年后才有另一部韩剧在内地流媒体平台首播，而像Park这样的韩国娱乐明星开始重回华语圈的时间则更长。
然而，借鉴仍在继续，尽管并不总是得到版权所有者的许可：例如，爱奇艺的真人秀说唱比赛《中国新说唱》与韩国的《给我看钱》明显相似，而农村综艺节目《向往的生活》看起来与韩国的《一日三餐》非常相似。

In a departure from previous Chinese national
frenzies
over K-dramas or K-pop, the popularity of Chinese
remakes
of Korean television programs represents a new, quieter but no less important expression of
hallyu
— what I call an “
amnyu
,” or an
undercurrent
of Korean cultural presence.
Hallyu
is so
ubiquitous
, and has so reshaped the
contours
of Chinese screen culture, that its Korean origins
go unnoticed
or unremarked upon, allowing them to continue to
exert influence
, albeit under a different name.

与以往中国对韩剧或韩流的狂热不同，中国翻拍的韩国电视节目的流行代表了韩流的一种新的、更安静但同样重要的表达——我称之为“Amnyu”，即韩国文化存在的暗流。韩流无处不在，重塑了中国银幕文化的轮廓，以至于它的韩国起源被忽视，使它们能够继续发挥影响力，尽管名称不同。
The classic example of this process might be “Hurry Up, Brother.” An officially licensed remake of the phenomenally popular Korean series “Running Man,” its arrival on Chinese screens in 2014 changed China’s television industry. According to Korean analyses
of the remake’s success, “Hurry Up, Brother” benefitted from a lack of competition: Its emphasis on on-location, outdoors, apparently unscripted shoots was unique among Chinese television programs.
Prior to
the show’s premiere, Chinese reality TV was dominated by more serious
fare
dealing with social concerns. The
improvisational
,
light-hearted
“Hurry Up, Brother”
struck a chord
and awakened a desire for more entertaining — and less
didactic
— programming.

这个过程的典型例子可能是
《奔跑吧兄弟》
。作为对广受欢迎的韩国综艺节目Running Man的官方授权翻拍，它于2014年登上中国银幕，改变了中国的电视业。根据韩国对翻拍成功的分析，
《奔跑吧兄弟》
得益于缺乏竞争：它强调外景地、户外、显然没有剧本的拍摄，这在中国电视节目中是独一无二的。在节目首播之前，中国真人秀节目以处理
更严肃的
社会问题为主。即兴、轻松的
《奔跑吧兄弟》
引起了共鸣，并唤醒了对更多娱乐性——而不是说教性——节目的渴望。

The appeal of shows like “Hurry Up, Brother” didn’t simply disappear with the arrival of THAAD on the Korean
peninsula
. Rather, it survived in a changed form. The 2017
press conference
for the first season of “Keep Running” — “Hurry Up, Brother”
shorn
of its Korean
baggage
— was filmed in the small northwestern city of Yan’an, the
cradle
of China’s Communist Revolution. So was the season’s fifth episode, which saw its
cast
of celebrities go on a “red tour” of Yan’an’s
revolutionary sites
and sing the well-known red song “Defend the Yellow River.”

像
《奔跑吧兄弟》
这样的节目的吸引力并没有随着萨德在朝鲜半岛的到来而消失。相反，它以改变的形式幸存下来。2017年
《奔跑吧兄弟》
第一季的新闻发布会——
《奔跑吧兄弟》
被甩掉了韩国包袱——是在西北小城延安拍摄的，延安是中国共产主义革命的摇篮。本季的第五集也是如此，明星们前往延安革命遗址进行“红色之旅”，并演唱了著名的红色歌曲“保卫黄河”。
The result is a kind of Korean reality program with Chinese characteristics. While maintaining the aesthetic and
affective
qualities of the Korean original, the post-2016 version of “Hurry Up, Brother” adjusts the format to
incorporate
more political and social elements, positioning it to
mediate
between
solemn patriotism
and
contemporary sensibilities
, as well as between official narratives and aesthetic enjoyment.

结果是一种具有中国特色的韩国真人秀节目。2016年之后
《奔跑吧兄弟》
在保持韩国原作的审美和情感特质的同时，调整了格式，融入了更多的政治和社会元素，将其定位为在庄严的爱国主义与当代情感之间，在官方叙事与审美享受之间进行调解。
This trend is evident not only in the production of Chinese remakes of Korean variety shows, but across a wide range of Chinese programming, including in unexpected genres like
archaeology
. As part of China’s
renewed
emphasis on its history, for instance, the 2017 program “National Treasure” became the first show produced by state broadcaster CCTV to combine serious scholarship with a humorous tone.

这种趋势不仅在韩国综艺节目的中国翻拍制作中很明显，而且在广泛的中文节目中也很明显，包括考古学等意想不到的类型。例如，作为中国重新强调其历史的一部分，2017年的节目“国家宝藏”成为国家广播公司中央电视台制作的第一部将严肃的学术与幽默的语气相结合的节目。
A more recent example is last year’s “Infinity and Beyond,” a music-based reality show that
paid tribute to
the 25th anniversary of Hong Kong’s return to China. A second season, released this year, paid tribute to the music of Taiwan. Although not a remake, the show’s mainland-based production team
featured
a number of
veterans
of past Korean adaptations, including the Chinese versions of Korean programs “I Am a Singer” and “King of Mask Singer.” The influence of those programs — particularly the affective aesthetics of “I Am a Singer” —
loom large
in “Infinity and Beyond,” which uses song to evoke feelings of
nostalgia
and
sentimentality
.

最近的一个例子是去年的“无限与超越”，这是一个基于音乐的真人秀节目，向香港回归25周年致敬。今年发行的第二季向台湾音乐致敬。虽然不是翻拍，但该节目的内地制作团队拥有许多过去韩国改编的老手，包括韩国节目《我是歌手》和《面具歌手之王》的中文版。这些节目的影响——尤其是《我是歌手》的情感美学——在《无限与超越》中显得尤为突出，它用歌曲来唤起怀旧和多愁善感的感觉。

The American political scientist Joseph S. Nye once defined national soft power rivalry as a competition to see “whose story wins.” Hallyu has been conducive to shaping and reshaping South Korea’s national image both within and outside of its borders, something China has long aspired to do. In 2014, in recognition of the nationwide frenzy over the Korean TV drama “My Love from the Star,” members of the National People’s Congress discussed how Korea had succeeded in developing its soft power. That same year, Chinese president Xi Jinping announced
an intention to “increase China’s soft power, give a good Chinese narrative, and better communicate China’s messages to the world.”

美国政治学家约瑟夫·S·奈（Joseph S. Nye）曾经将国家软实力竞争定义为看“谁的故事获胜”的竞争。韩流一直有利于塑造和重塑韩国境内外的国家形象，这是中国长期以来一直渴望做的事情。2014年，在意识到韩国电视剧《我的爱来自星星》的全国性狂热后，全国人民代表大会成员讨论了韩国如何成功地发展其软实力。同年，中国国家主席习近平宣布有意“增强中国的软实力，提供良好的中国叙事，更好地向世界传达中国的信息”。
Sanctioned
or not, Korean pop cultural references have played a key role in that effort. The transition from
hallyu
to
amnyu
is not just a story of how Korean pop culture has adapted and thrived in China during a time of bilateral tensions; rather, it represents a significant redefinition of
hallyu
itself, as we must recognize the broader scope of its significance in China. If South Korea is a cultural rival, it is also a reference and a
benchmark
that has already changed the landscape of Chinese pop culture.

无论是否受到制裁，韩国流行文化都在这一努力中发挥了关键作用。从韩流到暗流的转变不仅仅是一个关于韩国流行文化如何在双边紧张局势时期在中国适应和繁荣的故事; 相反，它代表了对韩流本身的重大重新定义，因为我们必须认识到它在中国更广泛的意义。如果说韩国是一个文化对手，那么它也是一个
改变了中国流行文化格局的
参照物和标杆。
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