STVFORUM｜Content Reigns Supreme: Focus on Innovation to Lead Audiovisual Cultural Trends

"Content is king, and innovation is the key" has always been the mantra of the audiovisual industry. In recent years, major platforms have invested heavily in the production of online audiovisual content, reaching new heights in production quality and presentation. Popular TV dramas, variety shows, diverse documentaries, and cultural programs have become the industry's source of vitality due to their breakout success. What explorations have they undertaken? What experiences have they formed? On the morning of June 26th, the 29th Shanghai TV Festival (STVF) held the STVFORUM—Audiovisual Culture Trends Forum, conducted in a unique "open mic" format. Representatives from popular online content creation teams on platforms such as Tencent, Youku, and iQIYI were invited. Alongside their popular works, they discussed the new trends in network audiovisual culture.

From left to right

Representatives of online content creation: Qi Kang, Chen Wei, Zhu Lingqing, Luo Yuan, Xu Qing, and Liang Zhi (host).

Qi Kang

Senior President of iQIYI, General Manager of iQIYI Canran Photo

General Producer of TO THE WONDER

Li Juan's collection of essays, MY ALETAI, is written in a very plain style, revealing a very optimistic attitude towards life and humor, which is a breath of fresh air that we rarely encounter in big cities. It's easy to be moved by her words. Director Teng Congcong, who was my classmate, initially approached me, wanting to adapt it into an art film. However, the first hurdle we encountered in the adaptation was the lack of a narrative thread, which made cinematization somewhat challenging. Director Teng is a very decisive creator. After making SEND ME TO THE CLOUDS, with a modest income, she personally negotiated with teacher Li Juan to acquire the rights. However, the movie faced difficulties for over a year. At that time, we were developing a six-episode miniseries and had gathered some insights into the development and creation of miniseries. We then revisited our collaboration with the director to explore the possibility of developing it into a miniseries. The director herself has a strong background in dramaturgy and provides a well-organized outline. The aspect of the storyline that moved me the most, and which we ultimately decided to focus on, is that during confusing times in life, one may need to look back on one's life. This retrospection can guide you through current confusion and future paths.

After establishing the narrative structure, we gained a lot of confidence in advancing the series. During the creative process, it eventually expanded into eight episodes—thanks to the development of media, which provided a very free platform for showcasing the work. My realization from this project is that as a creator, you need to first establish your own vision of cinema, accumulate professional knowledge, build a knowledge framework, and then seek experience. In the process of gaining experience, look for opportunities and dare to express yourself, integrating what you want to express into each project. When the time comes, the work will naturally fall into place.

This work is now often asked about its innovation, cinematic feel, and the cultural tourism boom it has sparked. In fact, we are "wise after the event". I believe the so-called successful experience is to be authentic, which is crucial. During the creation process, are you brave enough to face your own inner thoughts? For TO THE WONDER, the most authentic part is not the scenes you see, which have been artistically processed, but rather our genuine inner feelings.

Xu Qing

Head of Online Video Film and Television Content Production for Tianqing Studio, Tencent Video

Project Supervisor of THE EXCITING OFFER

The initial intent of the workplace show THE EXCITING OFFER was to display the training process from an ordinary person to a newcomer in the workplace. The harder you work, the better you become, and the better you are, the harder you might have to work, which in turn makes you luckier. Today's young people are shifting from seeking external validation to seeking internal fulfillment. In an era where personal branding is amplified, the paths to realizing personal value are diversified. Ordinary people can become bloggers due to certain unique traits, so I don't view it negatively that an ordinary person gains attention and becomes an internet celebrity through our show. Instead, the program allows everyone to see the "me" beside them or a "me" that is stronger, witnessing the process of ordinary people gaining attention and affection due to their efforts. This has a far greater positive and aspirational impact than merely becoming famous through the show.

Why is the fifth season so compelling? It has received excellent feedback and a reputation among young people. In addition to being nominated for the Magnolia Awards, various performance indices have also been very strong. What we did well, firstly, was choosing the right people. We selected individuals that everyone wanted to watch and who have diverse backgrounds, such as Hu Minghao, the "kid from someone else's family", and Huang Kai, who turned negative factors into an exemplary reversal. Another fun aspect of the show is the significant contrast among these ordinary people—they are elite in their careers but very down-to-earth in private. Secondly, the program "breaks out" because we targeted the societal hotspot of youth employment, but we didn't turn this issue into a depressing problem. Instead, we found the original spirit of the show in a grounded and slightly documentary style.

We also feel that THE EXCITING OFFER allows viewers to gain not only a satisfying offer for the next three years but, more importantly, a group of wonderful friends and a valuable life experience. The show has become an IP that provides more warmth and companionship for young people.

Chen Wei

Senior Vice President of iQIYI

General Director of 10 WONDERLAND

Over the years, the variety show industry has been striving for innovation, but with more than 200 new variety shows launching each year, 80% of them look pretty similar, only changing the lineup of guests. I don't know what can become a nationwide hit, but I have a basic understanding that anything new to the audience, or even new to me, might refresh them and trigger new perceptions.

For the show 10 WONDERLAND, I didn't want to just find an isolated island or a scenic area to film a fictional theme. I was particularly keen on creating a very realistic theme with some surreal elements. The excitement was already there in such a setup. We designed it like a series of challenges because life is like overcoming hurdles. I wanted to do this in real cities, and my wild idea was to do it in major cities like Shanghai, Beijing, Qingdao, Xiamen, Hangzhou, and Shenzhen. It was difficult, but eventually, Qingdao welcomed us, and we chose four major districts there, closing them off and starting the game. The entire process was based on reality yet abstracted from it.

Ultimately, we used many production methods that we had never used before, including thousands of surveillance cameras, and it took over a month just to review the materials. Normally, the data for one of our shows is around 400T, but this show exceeded 1024T, which pushed us into the "PB" era. We had 39 participants, including celebrities and ordinary people, and our goal was to tell a good story. I didn't want it to be just about stacking clichés or watching people eat and stroll around.

I've always said that these few years have not been easy for variety shows, but what's the way out? I don't know. I want to try a path that turns variety shows into serial dramas. Currently, all the attractive elements found in variety shows, including emotional, talent-based, commoner success stories, and nostalgic themes, can be met through short videos with high frequency and interaction. However, the biggest advantage of long-form video is its ability to tell engaging, clear, and compelling stories that highlight our core values.

Luo Yuan

Youku Documentary Producer

Producer of TOUR AROUND THE WORLD SEASON 3

TOUR AROUND THE WORLD initially started as a simple wish of Mr. Dou Wentao. He wanted to invite a few close friends to tour the scenic beauty of Jiangnan and experience the essence of traditional Chinese culture. Although the show ultimately took on a variety format, it was actually made using a documentary approach to create a cultural travel program.

The combination of culture and tourism in the show turned out to be quite intriguing. After filming, we received feedback from local places like the Silk Museum in Hangzhou, where many visitors mentioned they came because they had seen TOUR AROUND THE WORLD. This impact was significant for us; driving local tourism was not the original intent of the show, but it naturally became an effect.

Mr. Dou Wentao is not just the host of the show; he wears many hats, including being the chief planner and director, and he has even personally handled the final edits of the show. This multi-dimensional role ensured that the original vision of the show was maintained consistently throughout the production process without any distortions. With this intent, the guests experienced genuine interactions and explorations in their RVs, which led to authentic expressions amidst the natural landscapes.

These core elements of authenticity eventually gave the show a reality TV feel. Mr. Dou himself has said that the show is about being genuine. As it is a documentary-style program, we couldn't script it too strictly at the start. We only planned the time, place, participants, and general direction, so there were many random elements and variables. One such serendipitous encounter was eventually edited into a nearly 30-minute segment, becoming a highlight of the show. These unplanned moments brought great delight to everyone and added a sparkle to the show, making it feel very real.

Zhu Lingqing

Expert at Online Video Film and Television Content Production for Eureka Studio, Tencent Video

First Producer and General Director of THIRTEEN TALKS

 

The core idea of THIRTEEN TALKS has never changed since its first season. Its consistent goal has been to show viewers different life motivations, encouraging them to rethink their own living environments and lifestyles. We do not categorize it based on whether it involves emotions or the workplace, nor do we distinguish it as niche or mainstream based on these factors.

 

If there's something special about THIRTEEN TALKS, it's that the program is centered around dialogue. The show aims to present and explore various ways of living and sources of motivation. It encourages viewers not to mimic these lives directly but to apply these philosophies and motivations to their own lives, to live uniquely because every individual possesses great strength.

 

Initially, THIRTEEN TALKS was planned for just one or two seasons, but unexpectedly, it has continued to this day. From the seventh season onwards, we've undergone some changes, delving deeper into everyday life and exploring new realms of understanding. For example, future guests might include figures who are part of contemporary popular culture, people who might not elicit a "wow" from the audience but rather an "ah". We also plan to make the show more accessible to viewers and may even utilize technologies like Sora—because while it can provide answers, the questions must always come from us. Of course, the format of the show may change, but its central theme will remain constant.

 

Audience members come on stage to ask guests about the creation of the program.

The 29th STVF is hosted by the National Radio and Television Administration, China Media Group, and the Shanghai Municipal People’s Government, and organized by Shanghai Municipal Administration of Radio and Television and Shanghai Media Group, with co-organization by the Administration Committee of Lin-gang Special Area of China (Shanghai) Pilot Free Trade Zone, and special support from Shanghai Lingang Special Area Investment Holding (Group) Co., Ltd.