Earticle

초록

영어

China and South Korea, two major representatives of the micro-drama industry, have developed distinct development paths and industrial logics due to differences in market environments, industrial foundations, and cultural DNA. Relying on the ecosystem of short video platforms and algorithmic recommendations, China embraces a "channel-centric" approach. IP development relies on traffic-driven growth and rapid monetization, fostering a highly efficient "invest-test-money" commercialization model. However, this model suffers from content homogeneity, shallow narratives, and short IP lifecycles. South Korea, rooted in a mature film and television industry system and upholding a "content-centric" tradition, prioritizes emotional tension, character development, and narrative integrity, resulting in IP development with a more long-term perspective and the potential for cross-media storytelling. This study compares the differences between China and South Korea across five dimensions: industrial model, IP origins, development strategies, narrative logic, and case studies. China, driven by the "traffic logic," fosters fragmented narratives and a horizontally expanding "database consumption" model, while South Korea constructs a "story universe" with emotional depth and a complete worldview, promoting vertical IP development and brand building. By comparing Chinese and Korean cases, this paper reveals fundamental differences in IP operations between the two countries. It suggests that Chinese micro-short dramas, while maintaining their channel advantages, should shift from a "traffic logic" to a "content logic": promoting narratives from "stacked with exciting moments" to "building a story world"; guiding platforms from "traffic distributors" to "cultivators of the ecosystem"; and leveraging technology to enhance content quality and cultural connotations. By rebalancing "channels and content," an IP ecosystem with both commercial value, cultural appeal, and sustainable vitality can be built.

목차

ABSTRACT
I. Introduction
Ⅱ. Comparison of the production paradigms of short dramas in China and South Korea
1. China: Traffic dividend and content anxiety in the “channel is king” era
2. South Korea: “content is king” industrial heritage and innovation trials
Ⅲ. Comparison of the origins of Chinese and Korean shortdrama IPs
1. China: a fast-moving consumer goods ecosystem driven by “channels, algorithms, and traffic”
2. South Korea: a narrative ecosystem driven by “screenwriting-production-emotion”
IV. Differentiated paths of IP development and “transmediastorytelling” strategy
1. China's “IP trafficization” strategy: horizontal expansion and rapid monetization
2. South Korea's “IP universe” strategy: vertical cultivation and brand building
Ⅴ. Comparative analysis of typical cases
1. China Case Study: “Wushuang” and “I Was a Stepmother in the 1980s”- Dual-Track Model in the Traffic Ecosystem
2. Korean case studies: “Shut up, you're the villain of my work” and “canghosts be washed?” — “narrative symbiosis” of flatform strategy and fantasy setting
Ⅵ. Discussion and inspiration: towards a rebalance between“channels and content”
1. Discussion: dialectical examination of the two models and analysis of dilemmas
2. Inspiration: the path to upgrading Chinese micro-short dramas
Ⅶ. Conclusion
References

키워드

저자

• Wang Xiaoli [ Lecturer, Nanchang Business College, Jiangxi Agricultural University ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  Open Regional Studies

• 간기

  부정기

• pISSN

  2951-3197

• 수록기간

  2022~2026

• 등재여부

  KCI 등재후보

• 십진분류

  KDC 912 DDC 951