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China Arts & Entertainment

‘Humiliating’ Korean K-Swiss Commercial Enrages Chinese Netizens, Fuels Anti-Korean Sentiment

K-Swiss has sparked outrage on Chinese social media.

Manya Koetse

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A Korean commercial by American footwear company K-Swiss has recently sparked outrage on Chinese social media. The ad video depicts an alleged Chinese character in a way that is called “insulting” and “humiliating” to China. The controversy fuels anti-Korean sentiments amidst China-South Korea tensions, negatively impacting the popularity and presence of Korean pop culture in the PRC.

On August 3, Sina News, along with several other Chinese media, reported that popular Korean actor Park Bo Gum (朴宝剑) appeared in a commercial that is “insulting to China”. The message states that it is unreasonable for Park “to make money in China” and then “humiliate Chinese people”.

Park Bo Gum is famous in mainland China, where Korean popular culture has been booming since the early 2000s. The major popularity of Korean pop culture in the PRC is also referred to as Hallyu, or “Korean Wave”.

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The K-Swiss commercial caused a storm of criticism on Chinese social media, where the Sina News post alone was already shared over 5700 times, liked 21,000 times, and receiving more than 19,500 comments within 48 hours after it was posted. Other accounts posting about the video also received thousands of comments, making the issue a trending topic on Sina Weibo, using hashtags like “Korean commercial vilifies The Great Wall [China]” (#韩国广告丑化万里长城#).

“He [Park] comes to China to fill his pockets and then ridicules us,” one of the top comments says. Other Weibo users say Park is “no longer a pop idol” in their eyes or in their country (“国家面前无偶像”), and call him “deceitful” and “no longer welcome in China”.

Controversial game of chess

The 50-second commercial for K-Swiss, an American apparel company, shows Park playing a the Go board game against an alleged Chinese rival named ‘The Great Wall’ (万里长城). Like chess, Go is a strategy board game in which the aim is to surround more territory than the opponent. The game originated from ancient China, and is considered one of the oldest and most refined Chinese strategy games.

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After showing how the ‘Chinese’ player makes a move and just when it is Park’s turn, the commercial shifts to a party scene where the two players are dancing on the chess board. Park, in his K-Swiss sneakers, is portrayed as a popular kid with smart moves, his opponent is somewhat clumsy, chubby, and unfashionable. Not only does he have bad dancing skills, he is also slapped by a woman on the dance floor – a move that is laughed about by Park.

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Back to the actual chess game, Park finally makes the winning move. As the Chinese name of his opponent [“Great Wall”] is clearly visible, the sound of a goat bleating is played and the commercial ends with a happy Park.

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Shutting out Korean stars due to THAAD

By now, the commercial has become highly controversial on Chinese social media, where a majority of netizens denounce it, finding it insulting and discriminatory to China. Many netizens argue that Park should no longer be welcomed in China after choosing to feature in this commercial. “It is not without reason that we’re shutting out Korean stars,” one netizen comments.

The netizen refers to the recent request made by the Chinese State Administration of Press, Publication, Radio, Film and Television (SAPPRFT) to China’s major broadcasting firms, asking them to ban South Korean celebrities from making appearances on television entertainment shows starting next month, The Korea Herald reports.

The request was preceded by a series of sudden cancellations of appearances by Korean stars in China; a Chinese fan meeting with Korean stars Kim Woo Bin and Bae Suzy was “abruptly postponed” earlier this week. The popular Korean actor Lee Jun-ki will not be able to attend the opening of his most recent movie in China due to “visa issues”, and scheduled PRC concerts by Korean bands such as Snuper and Wassup have also been canceled by Chinese organizers for “no specific reason”.

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The apparent crackdown on China’s “Korean wave” comes after Beijing’s vehement opposition to South Korea’s THAAD (Terminal High-Altitude Area Defense) deployment. Last July, South Korea and the US announced their final decision to deploy the THAAD system in the south against North Korea’s missile and nuclear threats. The plan has angered Chinese leaders, who see the system as a possible security threat to the PRC.

The opposition to THAAD has now spilled over into popular culture, and South Korean businesses fear it might further influence their trade relations to China.

The huge controversy over the K-Swiss commercial comes at a moment when China-South Korea relations are strained over THAAD. Fragments of the commercial on YouTube from January 2016 suggest that this commercial has been around for at least 7 months, which makes the timing for Chinese state media to put forward news about this ‘recent’ commercial more questionable.

The commercial has nevertheless fuelled anti-Korean sentiments, as Chinese netizens claim to be “furious”, taking the representation of the man called ‘Great Wall’ in the ad video as the way South-Koreans perceive Chinese. “It is not that we want to curse you Koreans, but you disrespect us and look down on China. Your commercial might say ‘Great Wall’, but it is actually directed against all of China. Even I don’t always think China is that harmonious, but when it comes to foreign countries, we need to be patriotic!”, one netizen writes.

While Weibo is overflowing with anti-Korean and China-loving comments, actor Park Bo Gum is quickly losing followers on his official Weibo account, where his latest fan post received thousands of angry comments over the past two days. “I always liked you so much,” one disappointed fan writes: “I never expected this from you.”

What’s on Weibo video blog about the recent controversy on the Korean K-Swiss commercial: discrimination of China?

– By Manya Koetse

©2016 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

Manya Koetse is the editor-in-chief of www.whatsonweibo.com. She is a writer and consultant (Sinologist, MPhil) on social trends in China, with a focus on social media and digital developments, popular culture, and gender issues. Contact at manya@whatsonweibo.com, or follow on Twitter.

1 Comment

1 Comment

  1. Avatar

    justsomeguy69

    November 16, 2016 at 2:46 am

    LOL whiney chiney. Grow up, all of you. No one on the planet likes you, loud, rude, no manners at all, disgusting, spitting, shitting in public, destorying property including millenia-old monuments, committing fraud all day every day. When kids do not play well with others, they are excluded. What do you think the world will do with you? Permanently put you away. All of you

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China Arts & Entertainment

China’s New Hit Drama ‘Nothing But Thirty’ Thrives in the “She Era”

Chinese latest hit drama ‘Nothing but Thirty’ has 20 billion views on its Weibo hashtag page.

Yin Lin Tan

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China’s latest TV drama hit Nothing But Thirty is flooding Weibo discussions. With over 20 billion views on its hashtag page, the show is one of the most popular shows of the season and demonstrates that China’s ‘she era’ (ta shidai 她时代) dramas are all the rage. What’s on Weibo’s Yin Lin Tan explains.

“Have you heard of ‘independent at the age of thirty’ (sān shí ér lì 三十而立)?” Wang Manni asks, her hair pulled back neatly and white shirt cleanly pressed. “I hope that, before I’m thirty, I’ll be promoted to supervisor.”

Riding on the wave of female protagonist (‘heroine’ 大女主) shows that have been taking over China’s entertainment scene, Nothing But Thirty (三十而已) is a 43-episode drama by Dragon Television that follows the challenges of three different women who have reached the ever-important age of thirty.

In a society where women are often expected to be married by their late twenties, a show like this, which tackles women’s present-day struggles, both in their personal and professional lives, has resonated with many.

In fact, the show is so popular that at the time of writing, the show’s hashtag (“Nothing But Thirty”, #三十而已#) has over 20 billion (!) views on Weibo.

 

Depicting the struggles of China’s thirty-something women

 

Nothing But Thirty revolves around the lives of three female leads from different walks of life. Gu Jia (Tong Yao) is a capable businesswoman turned full-time housewife; Wang Manni (Jiang Shuying) is an independent, career-oriented sales assistant; and Zhong Xiaoqin (Mao Xiaotong) is your run-of-the-mill office lady.

For Gu Jia, the birth of her son was what truly transformed her into a full-fledged housewife. In many ways, she seems like a perfect wife and mother: well-educated, capable, and thoughtful. But, eventually, she too has to face life’s challenges.

Driven and hardworking, Wang Manni is confident in both her looks and abilities. Her immediate goal, at least at the start of the show, is to achieve professional success. Throughout the show, her resilience is put to the test, personally and professionally.

Zhong Xiaoqin is described by many netizens as the most “average” or “normal” character. She is kind-hearted -sometimes to the point of being a pushover -, and has spent years at the same company without rising the ranks. Though her story might seem mundane at first, this peace is disrupted when her marriage takes a turn for the worse.

 

A story that resonates with the masses

 

“The show attracted wide attention, and it strongly resonated with female audiences. Many thirty-something working women saw their own lives reflected in the show,” Xinhua recently wrote about the show.

Nothing but Thirty currently carries a 7.6 out of 10 rating on Douban, an online reviewing platform.

Though some reviewers criticized how the later episodes of the show were unnecessarily draggy, most praised it for its portrayal of strong female characters, good acting, and largely realistic depiction of women above the age of thirty.

“I saw myself, and also saw the friends beside me,” a reviewer notes.

In China, women are, more often than not, burdened with expectations of getting married and settling down by the time they are in their late twenties. If you’re single and thirty, that’s made even worse.

Those who fall into this category carry the derogatory label of “leftover women” (剩女), a term that reflects how single women above the age of thirty are seen as consolation prizes or even unwanted goods.

Thirty is thus an incredibly important number, especially for women — something that’s clearly reflected in the show’s concept trailer.

Aside from societal expectations of starting a family, some women now also take it upon themselves to build their careers. In fact, you can chase after professional success without burdening yourself with the idea that you must be married – a notion exemplified by the character of Wang Manni.

Nothing But Thirty also showcases the sheer diversity of experiences for women above thirty: you don’t have to be married, you don’t have to be super capable, and you don’t have to be thinking about having children. Each woman goes through her own unique struggles and isn’t necessarily endowed with the so-called “protagonist’s halo.”

Ultimately, the popularity of the show is driven by the three female leads and the actresses who bring these strong characters to life.

By telling a story that is relatable and touches on relevant social issues, namely on expectations of women in society, Nothing But Thirty was able to achieve widespread popularity and is adding another notch on the trend of China’s ta shidai (她时代) dramas. 

 

The rise of ta shidai shows

 

Ta shidai literally translates to “her era” or “the ‘she’ era.”

Ta shidai shows explore what it’s like to be a woman in China today. The female characters are diverse when it comes to both their backgrounds and character arcs; they might have different jobs, different levels of education, or different personalities. These shows mostly center around a strong female lead and/or a main cast that is primarily female.

More importantly, they often feature capable women and how these women overcame the odds to achieve success.

Recent shows like The Romance of Tiger and Rose (传闻中的陈芊芊) and Sisters Who Make Waves (乘风破浪的姐姐) also fall under this category, as do somewhat older hit shows such as Ode to Joy (欢乐颂) and Women in Beijing (北京女子图鉴).

The Romance of Tiger and Rose is set in a society in which women are in charge and men are subordinate, in a daring reversal of gender roles. Though the show has been criticized for using social issues to attract attention, it gained a decent following for tackling topics like gender inequality and women’s rights.

The Romance of Tiger and Rose (传闻中的陈芊芊)

A reality TV competition that swept the Chinese entertainment scene, Sisters Who Make Waves attempted to rebuke stereotypes of women over 30 as “leftover women.”

The show brought together female celebrities above the age of 30 (the oldest competitor was 52), and had them go through a series of challenges, culminating in a girl group formed by the final competitors.

Nothing But Thirty is just another example of a show that’s attempted to depict the realistic struggles of women in modern-day China.

More Chinese dramas that feature women — specifically, their struggles and the expectations that society places on them — are slated to be released in 2020.

Over the past few years, more attention has been focused on women’s rights in China. As feminism becomes an increasingly important topic of discussion in China, strongly facilitated by social media and not without controversy, companies are likely to hop on the bandwagon and continue producing shows that fall squarely in the ta shidai category, given the genre’s rising popularity.

Though we can’t expect every single show to perfectly, accurately, and realistically portray women’s struggles, the fact that more stories like these are being produced already helps bring such conversations into the mainstream. 

Hopefully, the trend of ta shidai shows is a sign that these issues won’t just be tackled on camera, but in real life as well. 

 
Read more about Chinese TV dramas here.
 

By Yin Lin Tan

 Spotted a mistake or want to add something? Please let us know in comments below or email us. First-time commenters, please be patient – we will have to manually approve your comment before it appears.

©2020 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

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China Arts & Entertainment

Two Hour Time Limit for KTV: China’s Latest Covid-19 Measures Draw Online Criticism

China’s latest COVID-19 infection prevention and control measures are drawing criticism from social media users.

Manya Koetse

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First published

No more never-ending nights filled with singing and drinking at the karaoke bar for now, as new pandemic containment measures put a time limit as to how long people can stay inside entertainment locations and wangba (internet cafes).

On June 22nd, China’s Ministry of Culture and Tourism (文旅部) issued an adjusted version to earlier published guidelines on Covid-19-related prevention and control measures for theaters, internet cafes, and other indoor entertainment venues.

Some of the added regulations have become big news on Chinese social media today.

According to the latest guidelines, it will not be allowed for Chinese consumers to stay at various entertainment locations and wangba for more than two hours.

Singing and dancing entertainment venues, such as KTV bars, can only operate at no greater than 50% maximum occupancy. This also means that private karaoke rooms will be much emptier, as they will also only be able to operate at 50% capacity.

On Weibo, the news drew wide attention today, with the hashtag “KTV, Internet Cafe Time Limit of Two Hours” (#KTV网吧消费时间不得超2小时#) receiving over 220 million views at the time of writing. One news post reporting on the latest measures published on the People’s Daily Weibo account received over 7000 comments and 108,000 likes.

One popular comment, receiving over 9000 likes, criticized the current anti-coronavirus measures for entertainment locations, suggesting that dining venues – that have reopened across the country – actually pose a much greater risk than karaoke rooms due to the groups of people gathering in one space without a mask and the “saliva [drops] flying around.”

The comment, that was posted by popular comic blogger Xuexi, further argues that cinemas – that have suffered greatly from nationwide closures – are much safer, as people could wear masks inside and the maximum amount of seats could be minimized by 50%. Karaoke rooms are even safer, Xuexi writes, as the private rooms are only shared by friends or colleagues – people who don’t wear face masks around each other anyway.

Many people agree with the criticism, arguing that the latest guidelines do not make sense at all and that two hours is not nearly enough for singing songs at the karaoke bar or for playing online games at the internet cafe. Some wonder why (regular) bars are not closed instead, or why there is no two-hour time limit for their work at the office.

Most comments are about China’s cinemas, with Weibo users wondering why a karaoke bar, where people open their mouths to sing and talk, would be allowed to open, while the cinemas, where people sit quietly and watch the screen, remain closed.

Others also suggest that a two-hour limit would actually increase the number of individuals visiting one place in one night, saying that this would only increase the risks of spreading the virus.

“Where’s the scientific evidence?”, some wonder: “What’s the difference between staying there for two hours or one day?”

“As a wangba owner, this really fills me with sorrow,” one commenter writes: “Nobody cares about the financial losses we suffered over the past six months. Our landlord can’t reduce our rent. During the epidemic we fully conformed to the disease prevention measures, we haven’t opened our doors at all, and now there’s this policy. We don’t know what to do anymore.”

Among the more serious worries and fears, there are also some who are concerned about more trivial things: “There’s just no way we can eat all our food at the KTV place within a two-hour time frame!”

By Manya Koetse

*” 餐饮其实才更严重,一群人聚在一起,而且不戴口罩,唾沫横飞的。开了空调一样也是密闭空间。电影院完全可以要求必须戴口罩,而且座位可以只出售一半。KTV其实更安全,都是同事朋友的,本身在一起都不戴口罩了,在包间也无所谓。最危险的餐饮反而都不在意了”

Spotted a mistake or want to add something? Please let us know in comments below or email us. First-time commenters, please be patient – we will have to manually approve your comment before it appears.

©2020 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

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