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| PAJU, South Korea — In a new Korean drama being filmed inside a cavernous studio building outside of Seoul, a detective chases down a man cursed to live for 600 years. Pistol shots crack. A hush follows. Then, a woman pierces the silence, screaming: “I told you not to shoot him in the heart!” | 韩国坡州——首尔郊外一个空旷的影棚里正在拍摄一部新韩剧，侦探在追捕一名被诅咒活600年的男子。枪声响起。接着是一片寂静。然后，一个女子打破了沉默，她大声喊道：“我告诉过你不要冲他的心脏开枪！” |
| The scene was filmed several times for more than an hour as part of “Bulgasal: Immortal Souls,” a new show scheduled to be released on Netflix in December. Jang Young-woo, the director, hopes it will be the latest South Korean phenomenon to captivate an international audience. | 这个花了一个多小时反复重拍的场景，是网飞(Netflix)定于今年12月上线的新剧《不可杀》(Bulgasal: Immortal Souls)的一部分。导演张英宇希望该剧也可以成为吸引国际观众的韩国现象级作品。 |
| South Korea has long chafed at its lack of groundbreaking cultural exports. For decades the country’s reputation was defined by its cars and cellphones from companies like Hyundai and LG, while its movies, TV shows and music were mostly consumed by a regional audience. Now K-pop stars like Blackpink, the dystopian drama “Squid Game” and award-winning films such as “Parasite” appear as ubiquitous as any Samsung smartphone. | 长期以来，因为缺少开创性的文化出口，韩国一直感到很恼火。几十年来，韩国的名声一直由现代和LG等公司生产的汽车和手机界定，而韩国的电影、电视节目和音乐的受众大多在东亚地区。如今，像Blackpink这样的韩国流行歌手、反乌托邦电视剧《鱿鱼游戏》(Squid Game)以及《寄生虫》(Parasite)等获奖影片，已像三星生产的智能手机一样随处可见。 |
| In the same way South Korea borrowed from Japan and the United States to develop its manufacturing prowess, the country’s directors and producers say they have been studying Hollywood and other entertainment hubs for years, adopting and refining formulas by adding distinctly Korean touches. Once streaming services like Netflix tore down geographical barriers, the creators say, the country transformed from a consumer of Western culture into an entertainment juggernaut and major cultural exporter in its own right. | 与韩国在发展自己的制造业技能时借鉴日美经验一样，韩国的导演和制片人说，他们多年来一直在研究好莱坞和其他娱乐业中心，在采用和改善讲故事公式的同时，将独特的韩国元素添加进来。他们说，一旦网飞这样的流媒体服务打破了地理障碍，韩国就从西方文化的消费者转变为一个娱乐业巨头，以及主要靠自身能力出口文化的国家。 |
| In the last few years alone, South Korea shocked the world with “Parasite,” the first foreign language film to win best picture at the Academy Awards. It has one of the biggest, if not the biggest, band in the world with BTS. Netflix has introduced 80 Korean movies and TV shows in the last few years, far more than it had imagined when it started its service in South Korea in 2016, according to the company. Three of the 10 most popular TV shows on Netflix as of Monday were South Korean. | 仅在过去几年里，韩国就以首部获得奥斯卡最佳影片奖的非英语片《寄生虫》让世界震惊。防弹少年团(BTS)即使不是世界上最火的偶像团体，也是数一数二的。网飞表示，它在过去几年里推出了80部韩国电影和电视剧，远远超出公司2016年在韩国上线时的预期。截至本周一，网飞最受欢迎的10部电视剧中，韩剧占了三部。 |
| “When we made ‘Mr. Sunshine,’ ‘Crash Landing on You’ and ‘Sweet Home,’ we didn’t have a global reaction in mind,” said Mr. Jang, who worked as co-producer or co-director on all three hit Korean Netflix shows. “We just tried to make them as interesting and meaningful as possible. It’s the world that has started understanding and identifying with the emotional experiences we have been creating all along.” | “我们制作《阳光先生》(Mr. Sunshine)、《爱的迫降》(Crash Landing on You)和《甜蜜家园》(Sweet Home)时，并没有考虑到全球反应，”张英宇说，他以联合制片人或联合导演的身份参与了网飞这三部热门韩剧的制作。“我们只是试图让它们尽可能地有趣和有意思。是世界开始理解、认同我们自始至终一直在制造的情感体验。” |
| The growing demand for Korean entertainment has inspired independent creators like Seo Jea-won, who wrote the script for “Bulgasal” with his wife. Mr. Seo said his generation devoured American TV hits like “The Six Million Dollar Man” and “Miami Vice,” learning “the basics” and experimenting with the form by adding Korean colors. “When over-the-top streaming services like Netflix arrived with a revolution in distributing TV shows, we were ready to compete,” he said. | 对韩国娱乐的需求不断增长，启发了徐载元这样的独立创作者。徐载元与妻子一起编写了《不可杀》的剧本。徐载元说，他这一代人曾津津有味地观看《无敌金刚》(The Six Million Dollar Man)和《迈阿密风云》(Miami Vice)等热门美剧，学习了“基本知识”，现在通过添加韩国色彩来尝试这种形式。“当网飞等超级流媒体服务带来了发行电视节目的革命后，我们做好了参与竞争的准备，”他说。 |
| South Korea’s cultural output is still tiny compared with key exports like semiconductors, but it has given the country the sort of influence that can be hard to measure. In September, the Oxford English Dictionary added 26 new words of Korean origin, including “hallyu,” or Korean wave. North Korea has called the K-pop invasion a “vicious cancer.” China has suspended dozens of K-pop fan accounts on social media for their “unhealthy” behavior. | 与半导体等主要出口产品相比，韩国的文化出口仍很少，但已经给它带来了一种难以衡量的影响力。今年9月，《牛津英语词典》增加了26个来自韩文的新词，包括hallyu（韩流）。朝鲜把韩国流行音乐的入侵描述为一种“恶性肿瘤”。中国封掉了数十个韩国流行音乐粉丝群的社交媒体账号，理由是它们的“不健康”行为。 |
| The country’s ability to punch above its weight as a cultural powerhouse contrasts with Beijing’s ineffective state-led campaigns to achieve the same kind of sway. South Korean officials who have attempted to censor the country’s artists have not been very successful. Instead, politicians have begun promoting South Korean pop culture, enacting a law to allow some male pop artists to postpone conscription. This month, officials allowed Netflix to install a giant “Squid Game” statue in Seoul’s Olympic Park. | 韩国作为一个文化大国的影响远超它的世界地位，这与中国形成鲜明对比，后者为获得同样的影响，大搞以政府为主导的运动，却毫无成效。试图对艺术家进行审查的韩国官员都不是太成功。相反，它的政客们已开始为韩国流行文化助力，制定了允许一些男艺人推迟服兵役的法律。本月，官方批准网飞在首尔奥林匹克公园安装了一个巨大的“鱿鱼游戏”雕塑。 |
| The explosive success didn’t happen overnight. Long before “Squid Game” became the most watched TV show on Netflix or BTS performed at the United Nations, Korean TV shows like “Winter Sonata” and bands like Bigbang and Girls’ Generation had conquered markets in Asia and beyond. But they were unable to achieve the global reach associated with the current wave. Psy’s “Gangnam Style” was a one-hit wonder. | 爆炸性的成功不是一夜之间发生的。早在《鱿鱼游戏》成为网飞收视率最高的节目之前，或防弹少年团在联合国演出之前，《冬季恋歌》(Winter Sonata)等韩剧，以及Bigbang、少女时代等乐队就已经征服了亚洲和其他地区的市场。但他们未能形成与当前这股潮流有关的全球影响。鸟叔Psy的《江南Style》也只是昙花一现。 |
| “We love to tell stories and have good stories to tell,” said Kim Young-kyu, CEO of Studio Dragon, South Korea’s largest studio, which makes dozens of TV shows a year. “But our domestic market is too small, too crowded. We needed to go global.” | “我们喜欢讲故事，而且有好的故事可讲，”每年制作数十部电视剧的韩国最大制作公司Studio Dragon的首席执行官金英奎（Kim Young-kyu，音）说。“但国内市场太小、太拥挤。我们需要走向全球。” |
| It wasn’t until last year when “Parasite,” a film highlighting the yawning gap between rich and poor, won the Oscar that international audiences truly began to pay attention, even though South Korea had been producing similar work for years. | 直到将贫富差距凸显出来的电影《寄生虫》去年赢得了奥斯卡奖后，韩国作品才真正开始引起国际观众的注意，尽管韩国多年来一直在制作类似的作品。 |
| “The world just didn’t know about them until streaming platforms like Netflix and YouTube helped it discover them at a time when people watch more entertainment online,” said Kang Yu-jung, a professor at Kangnam University, in Seoul. | “直到网飞和YouTube等流媒体平台帮助人们发现了这些作品后，世界才知道了它们，人们正越来越多地在网上消费娱乐，”首尔的韩国江南大学教授姜柳贞（音）说。 |
| Before Netflix, a select number of national broadcasters controlled South Korea’s television industry. Those broadcasters have since been eclipsed by streaming platforms and independent studios like Studio Dragon, which provide the financing and artistic freedom needed to target international markets. | 网飞之前，韩国的电视产业由几家国有广播公司控制。自从网飞进入韩国以来，这些广播公司已被流媒体平台和Studio Dragon这样的独立制作公司取代，后者为瞄准国际市场提供了所需的资金和艺术自由。 |
| South Korean censors screen media for content deemed violent or sexually explicit, but Netflix shows are subject to less stringent restrictions than those broadcast on local TV networks. Creators also say that domestic censorship laws have forced them to dig deeper into their imagination, crafting characters and plots that are much more compelling than most. | 韩国的审查机构对媒体上的暴力或色情内容进行审查，但网飞的节目受到的限制比本土电视网受到的限制宽松。节目制作者还说，国内的审查法律迫使他们更深入地挖掘自己的想象力，让他们得以塑造出比大多数作品更具吸引力的角色和情节。 |
| Scenes often overflow with emotionally rich interactions, or “sinpa.” Heroes are usually deeply flawed, ordinary people trapped in impossible situations, clinging to shared values such as love, family and caring for others. Directors and producers say they deliberately want all of their characters to “smell like humans.” | 剧中通常充满了富有感染力的互动情节。人物通常都有深刻的缺点，是被困于艰难情形下的普通人，坚持共同的价值观，如爱、家庭和关心他人。导演和制片人说，他们有意让所有的角色都“有人情味”。 |
| As South Korea emerged from the vortex of war, dictatorship, democratization and rapid economic growth, its creators developed a keen nose for what people wanted to watch and hear, and it often had to do with social change. Most national blockbusters have story lines based on issues that speak to common people, such as income inequality and the despair and class conflict it has spawned. | 随着韩国在战争、独裁、民主化和快速经济增长的漩涡中走向世界，创作者练就了对人们想看什么、想听什么的敏锐嗅觉，这些内容往往与社会变化有关。大多数国产大片的故事情节是基于贴近普通人的问题，比如收入不平等，以及由此引发的绝望和阶级冲突。 |
| “Squid Game” director Hwang Dong-hyuk first made a name for himself with “Dogani,” a 2011 movie based on a real-life sexual abuse scandal in a school for the hearing-impaired. The widespread anger the film incited forced the government to ferret out teachers who had records of sexual abuse from schools for disabled minors. | 《鱿鱼游戏》的导演黄东赫最早因2011年的电影《熔炉》(Dogani)扬名，该片根据一所专收听障学生的学校里真实发生的性暴力事件改编。这部电影激起了人们的广泛愤怒，迫使政府把残障校园中有性侵记录的教师揪出来。 |
| Although K-pop artists rarely speak about politics, their music has loomed large in South Korea’s lively protest culture. When students in Ewha Womans University in Seoul started campus rallies that led to a nationwide anti-government uprising in 2016, they sang Girls’ Generation’s “Into the New World.” The boy band g.o.d.’s “One Candle” became an unofficial anthem for the “Candlelight Revolution” that toppled President Park Geun-hye. | 尽管韩国流行歌手很少谈论政治，但他们的音乐在韩国活跃的抗议文化中占据着突出地位。当首尔梨花女子大学的学生们开始在校园集会，引发了2016年全国范围的反政府示威时，她们唱的是少女时代乐队的《再次重逢的世界》(Into the New World)。男子组合g.o.d.的《一支蜡烛》(One Candle)成了推翻朴槿惠总统的“烛光革命”的非官方主题歌。 |
| “One dominating feature of Korean content is its combativeness,” said Lim Myeong-mook, author of a book about Korean youth culture. “It channels the people’s frustrated desire for upward mobility, their anger and their motivation for mass activism.” And with many people now stuck at home trying to manage the enormous angst caused by the pandemic, global audiences may be more receptive to those themes than ever before. | “韩国制造的内容的一个主要特点是好斗，”林明默（音）说，他著有一本关于韩国青年文化的书。“它传递了人们渴望向上流动的不得志，传递了他们的愤怒以及他们参加群众运动的动机。”现在有这么多的人被困在家里，试图应对新冠疫情带来的巨大焦虑，全球观众可能比以往任何时候都更容易接受这些主题。 |
| “Korean creators are adept at quickly copying what’s interesting from abroad and making it their own by making it more interesting and better,” said Lee Hark-joon, a professor of Kyungil University who co-authored “K-pop Idols.” | “韩国的创作者善于快速复制来自国外的有趣东西，通过将其变得更有趣、更好，使其成为自己的东西，”《韩流偶像》(K-pop Idols)的合著者、庆一大学教授李鹤俊（音）说。 |
| On the set of “Bulgasal,” dozens of staffers scurried around to get every detail of the scene just right — the smog filling the air, the water drops falling on the damp floor and the “sad and pitiable” look of the gunned-down man. The show’s supernatural plot recalls American TV favorites like “X-Files” and “Stranger Things,” yet Mr. Jang has created a uniquely Korean tragedy centered on “eopbo,” a belief among Koreans that both good and bad deeds affect a person in the afterlife. | 在《不可杀》的拍摄现场，数十名工作人员跑来跑去地忙着，他们要确保每个场景的细节都恰到好处：空气中弥漫的烟雾，落在潮湿地板上的水滴，以及被枪杀的男子“悲伤而可怜”的表情。虽然这部剧的超自然情节让人想起《X档案》(X-Files)和《怪奇物语》(Stranger Things)等热门美剧，但张英宇创作的是围绕着“恶报”(eopbo)展开的一部独特的韩国悲剧，韩国人认为善行和恶行都会影响一个人的来世。 |
| Based on the recent success of Korean shows abroad, Mr. Jang said he hopes viewers will flock to the new series. “The takeaway is: what sells in South Korea sells globally.” | 考虑到韩国电视剧最近在海外获得的成功，张英宇说，他希望新剧集能让观众蜂拥而至。“总的来说：在韩国卖座的，在全球也卖座。” |
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