标签归档 西安品茶

　　Recently, the second season of "Flavor World" and the broadcast of "Looking for Dongguan" have once again teased the taste buds of diners and aroused people’s imagination of food. The second season of "Flavor World" starts from a global perspective, and explores the inextricable connection of cuisines around the world and presents the fresh taste of cuisines around the world. "Looking for Dongguan" is based on the authentic food flavor of Dongguan, showing the local food style from three angles: adapting to the weather, relying on mountains and rivers, and migrating and blending. It outlines the local fresh people and things with food, and then reveals the original appearance of Guangdong food culture, showing the historical change and time-space collision behind the flavor circulation.

　　Under the mode of creating and broadcasting "internet plus Documentary", food has become an important theme. Documentaries such as "Flavor World" and "Everything Nourishes" have become "traffic", "online celebrity" and "explosion" with the help of the power of the Internet, realizing brand marketing and genre creation. By means of defamiliarization, daily aesthetics and drama, these documentaries have re-endowed the life style and cultural heritage at the image level, transformed the daily life of ordinary people into an important cultural phenomenon in China society, and promoted cultural inheritance and innovative development by means of contemporary Internet platforms and audio-visual media.

　　The production mode of "high concept" and the audio-visual presentation of "film texture" are surpassing the domestic food documentary.

　　In recent years, several major Internet video platforms have successively launched documentaries on food themes. Popular topics, unique perspectives, and escalating audio-visual means ignite the public’s enthusiasm for watching, and almost every food documentary will become a hot topic. This successful documentary type provides inspiration and experience for us to think and explore how to develop the quality construction of audio-visual works.

　　Judging from these successful experiences, high-quality products include the continuous innovation of audio-visual technology and concepts, the shaping and promotion of cultural product brands, and the mainstream and sharing of value systems. Take "Flavor Room" as an example, the total broadcast volume of "Flavor Room" in Tencent video in the first two seasons alone is close to 2 billion yuan. In addition, Tencent launched the urban food documentary "Looking for Dongguan" immediately after the end of the second season of "Flavor World", and used the lens to show the audience the migration of Dongguan people and the changes and changes on their dining tables. Other Internet video platforms, such as bilibili, have also started a series of work non-stop after the successful broadcast of A Life Series in the first season.

　　In addition to the continuous development of food content, these documentaries draw lessons from the production mode of "high concept" and pursue the audio-visual level of "film texture". Close-ups with shallow depth of field and aerial photography with special perspectives reflect the pursuit of spectacle effect in Internet documentaries. These comparable film quality and carefully selected shooting themes together constitute spectacle viewing effect, which has become an important driving force for documentary films to improve quality and market performance in recent years.

　　For example, the first paragraph of the first season of "Flavor Man" shows the life and diet of nomadic people in Kuerte, Xinjiang. The film shows in detail the process of freezing and growing ice crystals in horse intestines after the sudden drop of temperature at night in winter. In "Looking for Dongguan", the footage of fishermen fishing at night and people drying raked radishes changed from near to far with the shooting environment at that time, which instantly raised the details of daily life to a higher perspective and brought a powerful shocking effect to the ordinary food life.

　　This special shooting technique, which is specially designed according to the ingredients and production process, widely exists in most story paragraphs of this series of documentaries, and has become a new visual technology benchmark for food documentaries and a typical element used to represent audio-visual quality and viewing experience during publicity and promotion. It can be said that the level of serialization and spectacle of China’s food documentaries is approaching or even surpassing that of overseas TV stations, and other mature documentaries have become the benchmark of film and television quality creation.

　　It not only has cross-cultural penetration, but also is an important support for the inheritance and development of Chinese civilization in the contemporary era.

　　Food is not only a big IP of current Internet documentaries, but also an important symbol of China traditional culture. Long before the popularity of food documentaries, Chinese restaurants have opened all over the world and become the first window for many foreigners to know about China. With the audio-visual media becoming the most popular form of mass communication in the world, it has become a global phenomenon to understand China culture through audio-visual and food practice. Flavor Origin is the first documentary of China team that landed in Netflix, and a series of short videos on food topics released by online celebrity Liziqi on overseas platforms have also promoted the cross-cultural communication of China culture.

　　Popular food documentaries not only introduce China’s diet with spectacular images and dramatic stories, but also use diet as a means to explore the world outlook, values and choices of lifestyle and interpersonal relationships belonging to China culture in a way that can be understood by contemporary and even world audiences. From the perspective of dietary anthropology, many cultural groups attach their unique feelings and concepts to the daily behavior of diet; Things not only define the social identity of individuals, but also convey a lot of information such as cultural habits and lifestyles. After the broadcast of China on the Tip of the Tongue, the popularity of "Tongue Tip" in social short videos and a large number of social discussions around food documentaries have proved that such documentaries have profoundly influenced the public’s imagination about their own culture, and even shaped and strengthened their shared life experiences and shared cultural patterns.

　　In these audio-visual narratives about food culture, two kinds of cultural concepts have been loved by audiences at home and abroad. First of all, the traditional culture of China attaches importance to family affection, and the family has become an individual’s safe haven and gas station. This is not only the success of food documentaries that can constantly stir the heartstrings of China audiences, but also makes foreign audiences, especially those in Southeast Asia, feel familiar and close. Secondly, the familiarity and respect for everything in the world embodied in the food culture conveys the harmonious relationship between individuals and the world, and renders the connection between people and plants and mountains and rivers. These cultural elements and value systems not only have cross-cultural penetration, but also can be accepted by modern life, which is an important support for the inheritance and development of ancient China civilization in the contemporary era.

Documentary scenes and scenes full of life texture bring ordinary people’s daily life to the foreground.

　　Another noteworthy feature of food documentary is that it is one of the few audio-visual works that insists on telling the daily stories of ordinary people. Although there are many international chefs and elites in the film, ordinary people are undoubtedly the main body in this kind of documentary, and their lives are often the most concerned and appreciated part of the audience. It has realized the people-centered creative requirements in the current field of literature and art in a quiet way, so that the daily struggle of ordinary people has gained its due position in the presentation of mass media.

　　In the cultural category of "elegance and vulgarity" or "high and low", food is a typical popular culture that comes from the daily life of ordinary people and is based on oral instruction. In the documentary scene, Internet documentaries restore food to the daily meals of every ordinary family, paying attention to seasonal ingredients, regional natural ecology, and family concepts and kinship behind food processing and enjoyment, and activating the inherent beliefs of ordinary people about daily life such as "eating at home", "the taste of mom" and "the most common and delicious". In particular, films such as A String of Life, Breakfast in China and Wondering about Dongguan have opened up another "technical route" that highlights the "fireworks" in addition to the image style of wonders, accommodating more documentary scenes, daily dialogues and even seemingly unrelated chats, which are full of life texture.

　　Ordinary people coming to the front of the film not only vividly show how China people extend their historical traditions to their present lives, but also help other cultural groups to overcome obstacles and barriers and get to know the real China people and China culture in the context of contemporary life. Compared with movie stars and development achievements, the ordinary life of ordinary members of society also has the value of cross-cultural sharing; A meal, rice, oil and salt can often stimulate the understanding of life under different appearances, bringing true mutual understanding and beauty.

　　(Author: Jun-jian Liang, Associate Professor, School of Journalism and Communication, Tsinghua University)

Reporter | Chen Qirui

Editor | Lou Qinqin

Not all beauty brands rely on head anchors.

On July 13th, the local beauty brand Polaiya said at the investor exchange meeting that in 2021, the head anchor delivery accounted for a small single digit in the total sales of product live broadcast. On Tik Tok, nearly 60% of Polaiya’s live broadcast activities are self-broadcast by the brand. At present, Polaiya mainly broadcasts live on Tmall, Tik Tok and JD.COM platforms.

During the "6.18" period in 2022, Polaiya ranked fifth in the Tmall beauty sales list; Its make-up brand Caitang ranks ninth in Tmall’s make-up sales list. In the future, Polaiya will continue to broadcast live, and this year, it will open a second official account in Tik Tok, mainly to promote popular items such as the essence of double antibodies.

According to the report of Qingyan, the information media in the beauty industry, Lin Qingxuan’s self-broadcast accounted for 60% during the "6.18" period in 2022, and the master anchor accounted for 40%. Shanghai jahwa Group, which owns brands such as herborist and Yuze, started the construction of the live broadcast center in December 2021, saying that 70% of the self-broadcast content will be completed by the internal team in 2021, and the store self-broadcast GMV will increase by more than 300% year-on-year.

According to the research report of CITIC Securities, in 2021, Li Jiaqi and Viya will account for about 10% of the live broadcast sales of Polaiya. Li Jiaqi and Viya accounted for about 25% of the live broadcast sales in shanghai jahwa, mainly in Yuze and herborist. According to the report, most A-share cosmetics listed companies are not highly dependent on the head anchor.

With the rise of anchors such as Li Jiaqi and Viya, live broadcast has become an important channel for beauty brands to promote online sales growth.

In this process, the head anchor promoted the sales growth of high-end overseas brands such as Lancome and Estee Lauder, and also made new domestic brands such as Perfect Diary and Flower Xizi come out of the circle, while local brands such as Polaiya and Yuze, which have been established for many years, also made a second spring through live broadcast.

However, the problem that some brands rely too much on the head anchor soon appears. The head anchor has a stronger voice, and the pit fee is more expensive. Beauty brands entering the live broadcast room of the head anchor sometimes lose money and earn traffic. Previously, the dispute between Li Jiaqi and L ‘Oré al also showed that the head anchor’s price requirements risked disrupting the brand price order.

Recently, after anchors such as Li Jiaqi and Viya stopped broadcasting one after another, some brands also realized that over-reliance on head anchors would increase the uncertainty of development. During "June 18th" in 2022, Li Jiaqi suddenly stopped broadcasting, which once caused a large inventory backlog of brands.

In fact, some beauty brands have already begun to reduce their investment in the head anchor, mainly by adding more stores to broadcast themselves. As early as the early outbreak of the epidemic in 2020, some beauty brands such as Lancome began to gradually increase their investment in self-broadcasting in order to reduce the losses caused by the closure of stores.

With the rise of short video platforms such as Tik Tok and Aauto Quicker, beauty brands have gradually extended their self-broadcasting channels from Taobao. In addition to beauty brands, the practice of self-broadcasting is also used by shopping malls such as Yintai, and counter clerks can broadcast live in shopping malls after training. Yintai’s self-broadcasting in shopping malls has established its own system.

Since the previously popular head anchor has gradually faded out, whether it is willing or not, it has become an inevitable trend for beauty brands to reduce their dependence on the head anchor. But not all brands can achieve sales growth through self-broadcasting.

At present, the successful self-broadcast beauty brands have usually developed in the market for a long time, and have a large number of sales points in offline channels. They have a considerable budget to build a live broadcast base, which can be broadcast by their own teams on Tmall and Tik Tok, and also gain exposure in the live broadcast of comprehensive shopping malls such as Yintai.

For those start-up brands, it is usually difficult to get traffic attention by choosing self-broadcasting, and entering the live broadcast room of the head anchor is often a key step for them to enter the mass market. In 2022, the "6.18" Tmall beauty and make-up sales list also showed that, without the support of the head anchor, the number of start-up local brands on the list had been greatly reduced, and overseas brands that had been suppressed once again dominated the list.

The excessive concentration of resources by the head anchor leads to the inequality of the right to speak between the anchor and the brand, but also because of the concentration of resources, the head anchor can bring rare traffic to small brands that lack exposure. In the current period when the field of head anchor is still green and yellow, start-up brands and small brands may face more challenges.