網(wǎng)絡(luò)自制節(jié)目時(shí)代來(lái)臨.

　　曾經(jīng)，中國(guó)的在線視頻網(wǎng)站一直充當(dāng)著電視臺(tái)的附屬播放平臺(tái)。但是現(xiàn)在，許多視頻網(wǎng)站獨(dú)立制作的原創(chuàng)節(jié)目取得了無(wú)與倫比的成功。下面，就讓小編帶大家看一下都有哪些網(wǎng)絡(luò)自制節(jié)目獲得了成功吧。

　　Domestic superhero parody film Jian Bing Man (《煎餅俠》) has just become the sixth Chinesilm in history to net more than 1 billion yuan at the box office. This is largely due to thesuccess of online mini-series Diors Man (《屌絲男士》), which airs on Sohu and was created byDong Chengpeng, who directs and is the leading actor in both the series and film. Since theshow went online in 2012, Dong’s funny satirical style has quickly garnered the show a largegroup of followers. The film gives diehard fans a chance to show their support for Dong. As anInternet catchphrase goes, “We owe Dong a film ticket.”

　　國(guó)產(chǎn)超級(jí)英雄喜劇電影《煎餅俠》票房成績(jī)已經(jīng)超過(guò)10億元，名列華語(yǔ)電影史的第六名。這很大程度上要?dú)w功于網(wǎng)絡(luò)迷你劇《屌絲男士》的成功。搜狐視頻推出的《屌絲男士》由董成鵬制作，同時(shí)他也是該劇集以及《煎餅俠》的導(dǎo)演兼主演。自從2012年《屌絲男士》開播，董成鵬搞笑的諷刺表演風(fēng)格，迅速吸引了一大批追隨者。電影的上映也給了鐵桿粉絲們一次機(jī)會(huì)去支持董成鵬。如同一句網(wǎng)絡(luò)口號(hào)所表達(dá)的那樣：“我們欠董成鵬一張電影票”。

　　Many other Internet-based shows also cater to the tastes of young audiences. Look at actionand adventure drama The Lost Tomb ( 《盜墓筆記》) and time travel series The EmperorThrough to the Modern (《拐個(gè)皇帝回現(xiàn)代》).

　　很多其他以網(wǎng)絡(luò)為基礎(chǔ)的劇集，也在貼合年輕觀眾的胃口，比如動(dòng)作探險(xiǎn)劇《盜墓筆記》以及穿越劇《拐個(gè)皇帝回現(xiàn)代》等。

　　Besides taste-tailored storytelling, online platforms have another appeal: They’re inclusive. Talkshows, debate programs, reality TV – any format that sells can be put online.

　　除了敘事方面很對(duì)口味，在線平臺(tái)另一個(gè)極具吸引力的特點(diǎn)是包羅萬(wàn)象。脫口秀、辯論節(jié)目、真人秀——任何賣座的形式都可以放到網(wǎng)上。

　　“The Internet is a more open platform. It doesn’t draw conclusions, nor does it try to educate.It tolerates different voices,” Jiang Bin, general manager of iQiyi’s program development center,told China Daily about the popularity of self-made programs such as the website’s talk showMorning Call (《曉說(shuō)》).

　　“互聯(lián)網(wǎng)是一個(gè)更開放的平臺(tái)。互聯(lián)網(wǎng)既不做結(jié)論，也不去教育人，并且可以容忍不同的聲音，”愛奇藝節(jié)目開發(fā)中心總經(jīng)理姜濱在接受《中國(guó)日?qǐng)?bào)》采訪時(shí)，談到了自制節(jié)目(比如網(wǎng)絡(luò)脫口秀《曉說(shuō)》)大受歡迎的原因。

　　Online programs also enable interaction between viewers through a system called danmu ordanmaku in Japanese.

　　在線節(jié)目的觀眾還可以通過(guò)彈幕系統(tǒng)進(jìn)行互動(dòng)。

　　Danmaku invites viewers to type in their thoughts while watching a show and simultaneouslydisplays the comments on everyone’s video screen. For example: “Cautious! Exciting scenesare coming soon!” “He has undertaken all the CPs (couplings) in the show!”

　　通過(guò)發(fā)送彈幕觀眾可以在觀看節(jié)目的同時(shí)發(fā)表自己的看法，這些評(píng)論都會(huì)實(shí)時(shí)出現(xiàn)在其他觀眾的屏幕上。比如：“前方高能預(yù)警!”“劇里所有的CP都被他承包了!”

　　Danmaku and other interactive functions “direct” video websites to adjust their programs. In2014 Tencent’s original music show The Hit of China (《Hi歌》), the number of virtual flowersgiven to contestants by users determined whether they’d go or stay.

　　彈幕以及其他互動(dòng)功能還可以引導(dǎo)視頻網(wǎng)站對(duì)節(jié)目進(jìn)行調(diào)整。2014年，騰訊的原創(chuàng)音樂(lè)節(jié)目《HI歌》中，觀眾通過(guò)“獻(xiàn)花”數(shù)量的多少可以決定選手的去留。

　　The year 2014 was called “the first year of the era of online shows”. But back then manyassumed online shows only starred new faces and looked about as cheap as their budgets. Butnow all these preconceptions are being shattered. 2015 is truly giving Web series a shiny newcoat of paint.

　　2014年被稱為“網(wǎng)絡(luò)劇時(shí)代元年”。當(dāng)時(shí)，很多人都認(rèn)定，網(wǎng)絡(luò)自制劇里只有新人，水平就像制作成本那樣低。但是現(xiàn)在，這些偏見正在被打破。2015年，網(wǎng)絡(luò)劇換上了閃亮的新衣。