播放音频

S: Hello, everyone. Welcome to CBN Friday Special, I’m Stephanie Li.

R: And I’m ZHANG Ran. So, Stephanie, what were you watching on your phone earlier?

S: I was trying to figure out where I can watch this popular TV series "Zhen Huan Biography" for my weekend. 

R: That’s a classic! So did you find it on the internet?

S: Not really, but I did find something interesting. There’re more derivative works, or the so-called "video commentary," than the original series. For example, on the short video platform Douyin, the Chinese mainland version of TikTok, you will find a user who edited 76 episodes of the TV show into 223 short videos. And the total streaming of all related videos has surpassed 40 billion on Douyin.

Likewise, on the popular video platform Bilibili, a graduate from the acclaimed Beijing Film Academy first posted a video commentary based on the show in January, which has since been viewed more than 1 million times, and now even attracts many imitators. The total number of videos she posted on Bilibili has exceeded 40 million views now and received 1.96 million likes.

R: You know, that’s not a surprising discovery. According to a survey, China has 927 million users of online video platforms, accounting for 93.7 percent of all netizens. Among them, 873 million are short video platform users. Since there’re lots of people who like to catch up with TV series on short video platforms without actually having to watch them in full length, the videos that explain all the plots for you in several minutes sound attractive and time-saving. 

Like when you search for the popular drama "The Awakening Age” on Bilibili, the first content that jumps out is not the TV series itself, but a series of film and television commentary videos re-edited from the drama's footage.  

Also, the video commentary may help the audience discover more details that they didn't notice when watching the original episode, as well as provide a space for audiences to share and discuss their feelings.

S: Right. And because the videos also bring clicks to the video creators and the platforms, it seems everyone's happy. However, for the long video platforms that actually paid for the copyright to distribute TV shows and movies, things get tricky. On the one hand, the derivative works may help maintain the popularity of the TV series and direct audiences to their platforms. On the other hand, however, some works may cause copyright infringement and hurt the rights of the long video platforms' subscribed users, which might bring down the subscription number of these streaming websites.

R: I agree. Matters related to copyright and intellectual property have long been an issue in China, particularly with short video content. Last August, Tencent Video sued Douyin for 100 million yuan for alleged infringement of its television commentary videos of "Crime Crackdown", which was available on-demand only through Tencent Video. As a result, Douyin had to take down more than 8,000 videos. And that's not the first time for Tencent Video to sue Douyin over copyright issues. Last June, Tencent sued Douyin for breaching the copyright of its original animation “Doula Continent”, claiming more than 60 million yuan. 

S: It’s reasonable for video streaming platforms to take necessary legal actions against short video sites for unauthorised use of copyright content. But for content creators, strict copyright rules may lead to a lack of usable materials, and therefore slash the number of derivative works. So some long and short video platforms are working on ways to strike a balance.

For example, Douyin announced lately that it has reached a deal with domestic video platform Sohu. Under the arrangement, Douyin, Xigua Video, and Toutiao, which are all under Chinese tech big-name ByteDance by the way, will be granted licenses related to the derivative work of all self-made movies and television works by Sohu, including hit dramas “Medical Examiner Dr. Qin” and “Fleet of Time.”

R: It’s a way worth exploring for short and long video providers to work together and also good new for content creators. Other video platforms including iQIYI, Tencent Video, and Bilibili, are also encouraging their users to produce derivative works of movies, TV series, or TV shows that they have already acquired distributing authorization. Kuaishou makes it possible for songwriters and independent music producers to gain profits.

S: Although some platforms have made efforts to promote cooperation with more copyright owners, especially long video platforms that possess many exclusive copyright resources, and provide better copyright solutions for creators and the industry, it can be hard for short video platforms to reach deals with the country's top players like iQIYI, Youku, and Tencent, as they have already accumulated a large number of subscribers, and some of them have their own short video sites and creators.

R: Well, that’s a tough one. But I believe there’s some common ground that different companies can find to work together and find a way to strike a balance between the interests of platforms, copyright owners, and content creators. So, enjoy your weekend with your favourite show! And we will see you next week. 

在刚过去不久的“五一”假期中，宅家的你又重看“亿遍”《甄嬛传》了吗？

这部2011年拍摄的电视剧，至今在互联网上仍旧有着不小的热度。不止正片被许多人反复观看，其也是众多短视频创作者的重要素材来源，二次创作来的短视频内容也受到不少人的追捧。比如，在抖音、B站等平台上，活跃着一群以《甄嬛传》、《法医秦明》等热播影视剧为主体素材进行“二创”的作者，也正是在这些作者的多方位解构下，热门经典影视剧的二创作品中诞生出了许多网络流行的爆款梗，也给疫情之下宅家的人们带来了很多乐趣。

有一位活跃在B站的“甄学家”，今年1月初发布了第一个有关《甄嬛传》的名为“中译中”（指深度解读剧中情节、人物关系、台词等）的视频，后来这个视频的播放量超过了100万，甚至吸引了一大批效仿者。目前她在B站投稿的视频总播放量已经突破了4000万，总获赞数也达到了196万。

像《甄嬛传》《法医秦明》等热播电视剧的二创，这样的短视频大多属于影评、解说类，而这也是大多数受众喜欢的二创作品。从目标受众而言，二创的创作者有两类：一类是主要面向尚未接触相关剧集或渴望回顾经典剧集的受众；另一类是面向已经观看了或了解过相关剧集内容的受众，通过创作者自己的理解对原本的素材进行二次加工，表达自己的理解和情感。这样来看，前者主要激发受众对内容的兴趣，对原长视频作品进行宣传和引流；后者主要激发受众对剧集内容产生的共鸣情感，维持剧集热度，同时满足受众交流讨论剧集内容的需求。

二创作品不仅能够满足其目标受众对未接触长视频剧集内容的好奇心，又能够激发其受众对已观看剧集内容的交流讨论的共鸣情感，因此受到大量用户的欢迎和喜爱。而对于创作者和平台本身，二创带来的大量流量无疑是有益的。

根据调查数据显示，我国网络视频（含短视频）用户规模达到9.27亿，较2020年3月增长7633万，占网民整体的93.7%，其中，短视频用户规模为8.73亿，较2020年3月增长1.00亿，占网民整体的88.3%。由此可见，短视频备受用户们的喜爱。

不过，对于原长视频作品而言，这似乎是有利有弊的。尽管二创能够维持其热度并带来宣传和引流的积极影响，但是，这又涉及到了一个严肃的话题——版权问题。

去年8月，腾讯视频就其平台独播的主旋律电视剧《扫黑风暴》被侵权一事对抖音发起诉讼，索赔1亿。具体而言，作为《扫黑风暴》独占信息网络传播权人，腾讯视频在开播前后多次向抖音发送《权利预警函》和《侵权告知函》。但自剧集开播起，抖音上就有用户陆续上传侵权内容，而后更出现含所有当晚更新集数最精彩的片段剪切，以及合集内容。根据规则，抖音最终下线了被投诉视频共计超8000个。

而这已非腾讯第一次因版权问题起诉抖音。早在去年6月，腾讯就因自制动画《斗罗大陆》起诉抖音，索赔超过6000万元。不得不说，2021年以来，长短视频的交锋已经到了水深火热的阶段。

面临着这样的硝烟和争端，二次创作者究竟何去何从？长短视频间究竟如何减少纷争、实现“双赢”？或许，答案正蕴藏在各大公司间的合作进展中。

3月17日，抖音发布官方公告，宣布和搜狐达成合作。抖音、西瓜视频、今日头条获搜狐全部自制影视作品二创相关授权，包括《法医秦明》《匆匆那年》等近百部剧集，抖音平台内用户可以对其进行剪辑或改编，时长控制在5分钟以内。”抖音声明，未来抖音平台的用户可以对上述搜狐作品进行二创。双方还将在新剧推广宣传上，继续开展创意营销或视频征集等合作。

相关短视频平台也就版权问题采取一些基础的解决措施，如快手在原有版权结算的基础上新增了词、曲版权的单独结算以及独立音乐人结算通道；B站、爱奇艺、腾讯在站内已有版权的基础上鼓励用户去进行二创。

但是，短期内若要说服爱优腾等头部长视频平台开放内容授权给短视频平台可能并非易事。一方面，头部平台可能会认为合作缺乏必要性——平台内剧集本就自带较高流量，选择与短视频平台合作反而会存在被引流的可能；另一方面，部分头部长视频平台也在运营旗下的短视频平台，他们会更倾向将版权内容注入自家的短视频平台中。

从当前长短视频的争议来看，仅采取上述措施显然无法满足不同场景下对于版权合规的细分要求，市场期待更多相关领域实践，一同寻找符合“平台+版权方+创作者”各方利益的共赢之路。

Executive Editor: Sonia YU

Editor: LI Yanxia

Host: Stephanie LI

Writer: Stephanie LI, ZHANG Ran, CHEN Zihui, XIE Kaishan

Sound Editor: ZHANG Ran

Graphic Designer: ZHENG Wenjing, LIAO Yuanni

Co-produced by 21st Century Business Herald Dept. of Overseas News & SFC Audio/Video Dept.

Presented by SFC

编委:  于晓娜

策划、编辑：李艳霞 

播音：李莹亮

撰稿：李莹亮、张然、陈梓慧、谢凯珊

音频制作：张然 

设计：郑文静、廖苑妮

21世纪经济报道海外部 南财音视频部  联合制作

南方财经全媒体集团  出品