Using the channels and discourse power he mastered, Cui Zhengyuan convinced all the short-sighted people in one go.

Next, the agenda of the meeting began to move into substantive operational discussions.

It may seem like a collaboration between the media industries of two countries, but in order to enter each other's markets, it is clear that there are many issues to consider.

For example, what kind of mode should China's programs and film and television dramas exported to South Korea be broadcast. In the unlikely event that there is content that denigrates the image of the South Korean state or the people, or mentions sensitive political incidents, how to deal with them is an issue that must be considered.

After all, both sides just want to use their own strengths and combine each other's strengths to make money. Instead of getting on the pole and letting the other party subvert their own value system, or wantonly attack their own politics.

In the same way, at that time, Xi Dada was noncommittal to Cui Zhengyuan's proposal, and there was also such consideration.

Compared with the more moderate and neutral Chinese entertainment and culture industry, South Korea's counterparts are much more free-spirited.

Not to mention other countries, even the ugly phenomena of the government and society in their own countries have all been bluntly exposed.

After China and South Korea cooperate with each other, if there is such content in the works broadcast in China, it is not equivalent to a slap in the face.

Therefore, during the discussion of this topic, Choi Zhengyuan said that South Korean counterparts must abide by the agreement and not violate China's relevant laws and regulations.

Of course, this is not a cultural dictatorship, but only works that are open to China.

Programs broadcast in Korea will not be subject to these terms.

However, Cui Zhengyuan laid the groundwork here and pit everyone who didn't think of it. When the work of the Korean zuò is broadcast on the guò channel and is loved by the Chinese audience, it will definitely create a very gratifying profit.

When the time comes, in order to make money from this market, those so-called ethical media makers will definitely take the initiative to remove some parts of the content that attack China in the process of making them.

So. The risk of discontent at the Chinese political level is minimized.

Besides, for works broadcast to China, isn't there still a release committee to check it? Not only the release committee, but also the work will definitely be reviewed by the State Administration of Radio, Film and Television before it is broadcast on Chinese channels.

The rules have been formulated in advance, and there is a double censorship system, which I believe can ensure that nothing goes wrong. In the same way, Cui Zhengyuan will also ask the Chinese side to add a new department in the State Administration of Radio, Film and Television. It is responsible for reviewing cultural works exported from Korea.

Cui Zhengyuan called this method a special review system.

This is because this mode of review is different from the original cultural supervision mechanism of the two countries, but it is an additional institution to adapt to the new form when the cooperation between the two sides deepens.

At the same time, Choi Jung-won plans to include the content of the mutual export of cultural works between China and South Korea as part of the China-South Korea Free Trade Agreement as part of cultural exchanges.

In this way, such an audit system becomes part of the China-Korea Free Trade Agreement. In other words, it seems that the special censorship system is tantamount to opening the door for foreign media to enter the Chinese market.

But if other foreign media want to enter the Chinese market, they must also reach a free trade agreement with China.

At the same time, on the basis of the signing of the agreement. It is also necessary to follow the established framework of Sino-Korean cultural exchanges, which can also avoid the malicious invasion of foreign cultures from both the system and the means.

Besides, it is not so easy to reach a free trade agreement with China.

Those countries where the media industry is more developed than China. Its economy is also dominant. If a free trade agreement is signed in order to open up new markets for the media industry, it will be tantamount to finding a new growth point for China's rapidly changing economy.

In that case, the speed of China's rise would be equivalent to the tremendous contribution made by these countries. If you think about those countries with developed media industries, you don't want this scene to happen.

The special review system is part of the China-Korea Free Trade Agreement. It can not only provide a practical guarantee for cultural exchanges between China and South Korea, but also avoid China's concerns about the introduction of Western liberal ideas.

And with this special censorship system, China and South Korea can also strengthen cooperation accordingly. To be a bridge for more cooperation in the field of culture.

It can be said that the system that Choi Jung-won came up with is an indispensable part of deepening cultural exchanges between China and South Korea at this stage.

On the special censorship system, the representatives of the various forces attending the meeting went through a fierce contest and finally got a clear guò.

Subsequently, the release committee, as the executor of the review, submitted the new plan to the Minister of Culture, Tourism and Tourism for review. After receiving the approval of the governor, an official document was finally formed and submitted to the National Assembly.

Because this system has been unanimously endorsed by the whole industry, although there are other voices in the Diet. However, it is impossible for both the ruling party and the opposition parties to seriously consider the opinions of the industry within the Diet.

So after a three-week tug-of-war, the special censorship system was added to the work of the Commission as part of the Korean Cultural Censorship Regulations.

At the same time, there is good news coming back from China.

After agreeing with South Korea's proposal to deepen cultural exchanges and cooperation, the Ministry of Culture, with the approval of the Central Political Bureau, also prepared for the establishment of the Special Examination Department of the State Administration of Radio, Film and Television.

Damn's main function is to censor all television broadcasts provided by South Korea for Chinese mainland audiences.

Soon, as part of the fastest progress in the negotiation of the China-Korea Free Trade Agreement, a number of rules and regulations and treaty provisions, such as the Memorandum of Understanding on Cultural Exchange between China and South Korea, the Coordination Measures for Cultural Censorship between China and South Korea, and the Standard Guidelines for Cultural Exchange between China and South Korea, were the first to come into effect under the joint signing of the Minister of Culture of China and the Minister of Culture, Tourism and Tourism of the Republic of Korea.

Now that the way for the two sides to export their cultures to each other has been opened, the next competition has entered the most tragic stage.

There are a lot of broadcast media in South Korea, and even more in China. But no matter which media it is, they must want to take advantage of this once-in-a-lifetime opportunity to break into the other party's market.

However, whether it is South Korea or China, it is impossible to allow all subordinate media to export and import their works without restrictions.

In this way, a large number of works are simply not something that a department-level department can review. At the same time, because the channels are limited, it is not possible to accommodate all the broadcast signals.

Therefore, after discussions between the two sides, China and South Korea jointly decided that the cultural export to each other could only be undertaken by a single channel.

In other words, whether you are KBS, MBC, SBS or HBC, as long as you want to export your works to the Chinese market, then you can only broadcast them through a channel that has been established by guò.

In the same way, there are so many TV stations in China that there is only one channel for their works to enter the Korean market.

The Korean side finally chose online video and film and television production to love Qiwei.

This is the result of Cui Zhengyuan's research, he abandoned the traditional TV station, and chose to cooperate with network operators instead.

There are too many TV stations in China, and the relationship between them is complicated, and there is both cooperation and competition with each other. No matter which TV station you put this channel on, it is easy to offend others.

Moreover, if the huge benefits generated in it make others unable to get a piece of the pie, there will definitely be big trouble after the contradictions arise.

But iQiwei is different, first of all, it is a network operator, which is completely different from ordinary satellite stations. Then it will put an end to the vicious competition of a certain TV station that monopolizes the broadcast rights of Korean programs and uses them to engage in ratings.

At the same time, almost all TV stations in China have a cooperative relationship with iQiwei, and a solid chain of interests has already been formed.

Therefore, only Aikiki can come forward to undertake it in order to calm the dissatisfaction of all parties and make this plan come true.

From now on, there will be an entrance to live Korean TV shows on the official website of iStrange.

This channel is called KBCC, the full name is Korean Broadcasting China Channel, which means Korean broadcasting Chinese channel.

At that time, all Korean film and television works and variety shows broadcast on this channel will be configured with Chinese subtitles in advance.

On the basis of ensuring the style of the program, it can also allow Chinese audiences to enjoy Korean programs smoothly.

This is also due to China's broadcasting regulations, which require Chinese dubbing of foreign works broadcast on Chinese television channels.

As we all know, no matter how good the film and television artwork is, once it is dubbed in a language other than the original, it will be ruined.

Using the channel of love bizarre to broadcast is tantamount to cheating, which happens to avoid this regulation.

In the same way, all the works that the Chinese side wants to export will also be broadcast on one channel in South Korea.

This channel is set up under the TVN TV station called TVNChineseChannel, or TCC for short.

All programs and film and television works to be broadcast in South Korea will also be accompanied by Korean subtitles before broadcasting, so that Korean audiences can watch them easily.

The reason why this channel is cheaper than TVN is because the whole plan was proposed by TVN at the very beginning. Therefore, in order to reward meritorious deeds, TVN should also be given.

Besides, TVN is a cable channel, so it meets the standards. If it is placed on the ground broadcast channel, it can only show that Cui Zhengyuan and others are stupid enough.

Are Choi Jung-won and those high-level executives stupid? Apparently not. They are as cunning as foxes and shrewd as ghosts, how can they make such big concessions.

South Korea's cultural works broadcast in China are online channels, and naturally cannot be compared with terrestrial waves.

On the basis of the lack of mature online film and television operators in South Korea, putting cultural products imported from China on the cable station with the smallest acceptance will not cause concern among peers and will not infringe on their interests. (To be continued......)