Since Qiao Feng's goal is very high, it is a good way to make his career go further by jumping from China Television to a new TV station.

But Zhou You still wants to ask clearly, don't Qiao Feng set his goal at entering the European and American markets from the beginning when he was young and vigorous, so the steps would be too big, and it would be easy to pull eggs.

"Of course, it's the market in Hong Kong and the mainland. I don't know if you know it, but I often travel to and from the mainland, and since the early 80s, television sets have gradually begun to be popularized among the vast number of families in the mainland, and with this, the number of TV viewers has increased exponentially.

However, for TV dramas, the mainland market, which has just begun, has a huge demand market, but it lacks sufficient supply capacity.

Therefore, in the mainland at this time, almost any TV series released can have very high ratings.

In order to meet the needs of these TV viewers, the only way for mainland TV stations that cannot produce enough TV drama products even if they are running at full capacity is to introduce overseas dramas.

Qiao Feng glanced at everyone and said with confidence.

Everyone nodded, especially Zhou You, who knew about it.

Of course, Qiao Feng knows more than the mainland.

He knows that in the 80s, which is remembered by countless people, with the open spring breeze, watching TV has become a fashionable spiritual consumption for people.

In 1983, in the midst of the upsurge of local calls for institutional reform, the government began to implement the policy of "running television at four levels". This policy played an important role in popularizing television in administrative areas below the county level, while also promoting the commercialization of the television system.

Since then, Chinese TV dramas have officially made great strides out of the stagnation period and moved towards the growth period.

In 1983, "Huo Yuanjia", as the first Hong Kong TV series introduced by the mainland, was broadcast with unprecedented pomp, and also triggered a martial arts boom in the mainland, Huo Yuanjia and Chen Zhen quickly became the idols of a generation.

In 1985, a TV series "Shanghai Stall" depicting old Shanghai shocked all Shanghainese, at that time the whole Shanghai was immersed in the hit broadcast of "Shanghai Stall", the theme song of the show circulated in the streets and alleys, becoming a classic of Cantonese pop songs for decades, Xu Wenqiang's suit and scarf, Feng Chengcheng's braids and other outfits have also become the object of imitation by young people.

In the same year, China's first feature-length TV series "Four Generations in the Same Hall" was broadcast, which aroused strong repercussions because of its profound ideology and high literary nature, and became the central topic of public opinion at that time.

In the late 80s, the classics came out one by one, and the classics of this period were accompanied by many popular theme songs. For example, in 1986, China's first TV series "Journey to the West", which was filmed with special effects, was broadcast and received extremely high praise, creating a myth of 89.4% ratings.

This version of "Journey to the West" was still the most replayed TV series during the winter and summer vacations in the following decades, with more than 3,000 replays.

In 1986, the TV series "Jigong" produced by Shanghai TV came into being, and every night the theme song of "shoes are broken, hats are broken, and robes are broken" come out of the windows of every night.

Also, during the Spring Festival of 1987, the 36-episode large-scale costume TV series "Dream of Red Mansions" was broadcast on CCTV for the first time in the form of daily broadcast. When "Vain Eyebrows" was sung thousands of times in the play, the highest ratings set an unprecedented record, creating an "insurmountable classic" in the history of Chinese TV dramas.

And the occurrence of this kind of sky-shattering ratings at every turn has a lot to do with the fact that the number of TV series produced cannot fully meet everyone's viewing needs.

There's no way, the TV series you can choose from is just one at the same time, and if you don't watch this, you won't have anything else to watch.

And the solution to this situation can only be to buy TV series.

In this context, compared with the American, Japanese, and even Mexican dramas that were once popular on mainland screens in the early days, TV dramas produced in Hong Kong and Taiwan, because of the same kind and same text, values and expressions are basically the same as those of ordinary mainland audiences, and gradually came from behind, and became the main TV programs in the mid-to-late 80s, occupying more than half of the main time of major TV stations in the mainland.

In the early 80s, the first TV dramas to enter the mainland market were undoubtedly Hong Kong TV dramas, Huo Yuanjia, Shanghai stalls and the like.

But Hong Kong dramas need dubbing, and in this regard, Taiwanese TV dramas have a great advantage.

Taiwanese TV dramas started in the 70s, a little later than Hong Kong, but because of their eclecticism, after the 90s, they gradually replaced Hong Kong as the leading TV drama production center in the Chinese-speaking region.

It just so happened that at this time, Taiwan opened up the guanzhi in the field of culture and media, and the relationship with Neidi has been greatly improved.

In order to maintain this improvement, at this time Taiwanese TV dramas began to be allowed to enter the mainland market through various channels.

The reason why Qiao Feng set his sights on the mainland market at the beginning is because he knows that in the mainland TV drama market in the 90s, Taiwan's TV dramas can be said to occupy half of the country.

Because of this, there are so many Taiwanese artists who can be as well-known as those film and television superstars in Hong Kong to mainland audiences.

Moreover, compared with Hong Kong, which will return in a few years, the preferential treatment that Taiwan can enjoy is undoubtedly much longer.

After Hong Kong's return, the export of film and television to the mainland weakened significantly, while the entry of Taiwanese TV dramas into the mainland at the same time was much simpler, which was not only related to the fact that Hong Kong's film and television industry suffered a heavy blow in the Asian financial crisis and went into decline, but the deeper reason was the change in Hong Kong's status.

It's the same difference between when you're in love and when you're married.

When you fall in love, because you want to soak you, the most important thing is that you may run away, in order to win your favor, it is natural that everything goes your way, and everything is as much as possible to wronged yourself and make you satisfied.

But after getting married, they are already in a boat and have begun to live, so naturally they can't be 100 things anymore.

If you don't do well, you have to say that you can even lose your temper at you.

After all, they are all married, and they can't just say that divorce is not because of some.

A few years later, the attitude towards Hong Kong and Taiwan, that is, a married wife is similar to an unmarried girlfriend.

However, even if the preferential treatment is a little longer, it will not last long.

After entering the 21st century, with the increasingly frequent cross-strait exchanges, mainland film and television companies have gradually matured, TV stations have become more open, TV dramas have become more and more sophisticated, and various popular and big IPs have been put on the screen.

On the contrary, the fierce competition of local TV stations has led to the tightening of the bank. The money to invest in the production of the series is increasingly stretched.

A large number of outstanding film and television practitioners in Taiwan have joined mainland companies or created their own companies to join the mainland market, and the creative talents left in Taiwan are increasingly scarce.

At that time, Taiwanese TV dramas began to decline, and even if they were still preferential, they did not have the strength to compete with mainland TV dramas.

Fortunately, Qiao Feng didn't think that decades later, Taiwanese TV dramas would still be able to surpass mainland TV dramas.

All he wants is more than 20 years during the period, which is enough for him to complete the layout in Southeast Asia based on the new TV station and Hong Kong's TVB, and even expand to Europe and the United States.

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Thank you for the 100 coin reward from the book friend Demon World Little Tiger.

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