商务传媒学院知识库

从2015年开始，偶像养成类真人秀节目作为一种全新的真人秀节目类型在中国异军突起，经过短短几年时间，已然成为当下点击率最高、关注度最高、受众参与程度最高的节目类型。

2016年，《PRODUCE101（第一季）》在韩国横空出世，其热潮席卷了整个东亚地区，2018年，由腾讯视频制作的《创造101》在中国热播。《创造101》虽然是《PRODUCE101》的中国版，但在原版节目的基础上，进行了本土化改编和创新。本研究选择这两档代表性节目作为研究对象，以比较研究法为核心，结合个案研究法，从节目形式、节目内容、节目理念、节目的营销方式等角度进行较为全面的比较研究，梳理和分析两档节目的相同点和不同点，并从“文化折扣”视角出发，探讨了中韩偶像养成类真人秀节目出现差异的原因，同时针对国内的偶像养成类真人秀节目存在的问题提出优化策略。

本文认为，中韩两国同属于东亚文化圈，文化接近性让中国观众更容易接受韩国的真人秀节目。中国的偶像养成类真人秀节目模式经过几年的发展已经趋于成熟，但仍处于“引进来”的阶段，引进的过程会出现一些问题，我们应该以包容的心态去看待，更重要的是在模仿中学习和成长，从而制作出优秀的原创节目，从“引进来”转为“走出去”，通过“偶像”的影响力将中国的优秀传统文化发扬光大。

Starting from 2015, idol-making reality shows have emerged as a new reality show genre in China and quickly become the genre with the highest click rate, attention, and audience participation at the moment.

In 2016, PRODUCE101 (Season 1) was launched in South Korea and its craze swept across East Asia. Following its success, PRODUCE101 China, produced by Tencent Video, hit the airwaves in China in 2018 and gained large popularity. Although PRODUCE101 China is the Chinese version of PRODUCE 101, it has been adapted and innovated locally based on the original show. This study selects these two representative programs as research objects and takes the comparative research method as the core, combined with the case study method, to conduct a more comprehensive comparative study from the perspective of program format, program content, program concept, and program marketing methods, etc., to sort out and analyze the similarities and differences between the two programs, and from the perspective of "cultural discount" to explore the Chinese and Korean idol-making. This paper discusses the reasons for the differences between Chinese and Korean reality idol shows, and proposes optimization strategies for the problems of domestic reality idol shows.

This paper argues that the cultural proximity between China and South Korea, which belong to the same East Asian cultural circle, makes it easier for Chinese viewers to accept Korean reality shows. Although the model of Chinese reality shows exhibits great maturity through years of development, it is still in the “Bring In” stage, which can be problematic at times. Thus, we should treat them with more lenience. More importantly, we should learn from imitation to produce excellent original programs, and move from “Bring In” to “Go Out”, which may enable us to promote the excellent Chinese traditional culture through the influence of "idols".