尽管中国已经开始意识到软实力在拓展国家利益中的重要性，但中国的邻国--韩国，却早已通过电视剧来提升自己形象。

　　With Descendants of the Sun, a new South Korean series on KBS2, being a big hit with TV viewers on the Chinese mainland, people cannot but ask: why cannot China, a country with a much larger audience, make such popular TV dramas?

　　自从KBS2电视台播放的韩剧《太阳的后裔》在中国掀起一阵韩剧狂潮之后，我们不禁扪心自问：为什么拥有如此庞大观众群体的中国不能制作出如此受欢迎的电视剧呢？

　　What's wrong with China's film and television dramas and directors?

　　中国的电影、电视剧行业以及导演究竟哪里出现了问题？

　　国产电视剧能否从韩剧的成功中学到些东西?

　　Some people attribute the popularity of South Korean TV series to their love-oriented stories, overflowing aestheticism, and romantic, sympathetic and suspenseful scenarios that seem to fit in with young women's fantasies.

　　一些观众认为，韩剧之所以如此受欢迎，是因为其以爱情为主打的题材、精致唯美的画面以及集浪漫、言情以及悬疑于一体的情节，恰好满足了当下年轻女性观众的所有幻想。

　　The pleasing personalities of the male and female protagonists, their vivaciousness, as well as the zigzagging plots and marvellous music, which meet young viewers' psychological demands, are also believed to be strong points of South Korean TV dramas.

　　与此同时，韩剧中男女主人公完美的人设、跌宕起伏的故事情节以及恰到好处的背景音乐十分迎合年轻观众的观赏需要，这些也是韩剧如此受中国群众追捧的部分原因。

　　Some audience think that South Korean TV dramas have been successful because they benefit from the positive image of the country and its eagerness to integrate itself with the outside world.

　　也有一些观众认为，韩剧的成功要归功于韩国较积极正面的形象以及该国想和外界接轨的迫切心愿。

　　After all, a country's film and TV productions should be analyzed in the context of its broader national image.

　　毕竟，一个国家的电影和电视制作应该要放到拓展国家形象的大背景下，从而进行更全面分析。

　　According to Simon Anholt, a national brand expert, a country's reputation can be neither forged nor changed through communication. He says the national image can be lifted 80% by creative work, 15% with systematic co-ordination, and only 5% through communication.

　　据一位名叫西蒙·安霍尔特的国际知名品牌专家表示，一个国家声誉和形象的提高只靠对外交流是行不通的。正常来讲，国家形象提高有80%来自于创意性较强的工作，15%来自于国家内部的协调运作，只有5%来自于对外交流。

　　In this sense, South Korean TV dramas also owe their success to the effective implementation of Seoul's "culturally oriented" national strategy.

　　从该种意义上来讲，韩剧的成功很大原因是由于其首都首尔所推行的“以文化为导向”的国策。

　　On the one hand, the South Korean government has implemented policies and pumped in funds for the development of the cultural sector.

　　一方面，韩国政府为增强文化实力实施了相应政策，给予了一定资金支持。

　　On the other, it has taken measures to introduce non-governmental capital to the sector.

　　另一方面，民间资本也在该领域发挥了强有力的作用。

　　The Chinese government, too, attaches great importance to the development of the cultural industry, but some outdated concepts of decision-makers in China's TV drama section, their conservative management style and the generation gap between them and the audience at large, especially youth, prevent the vitality and energy of Chinese TV dramas from being fully released.

　　从中国的角度来说，中国政府也花了很大力气来发展本国文化产业，但由于中国电视领域个别决策者的陈旧观念及其采取的守旧的管理模式使其与当前电视观众，尤其是青年观众的代沟越来越大，一定程度上阻挡了中国电视剧行业向前迈进的脚步，显得愈发因循守旧，缺少创新和活力。

　　And TV dramas made under obsolete concepts cannot gain market favour.

　　如此一来，在陈旧观念下所出品的电视剧便不能很好迎合当前的市场需求。

　　Scientific orientation and guidance have also contributed to the success of South Korean dramas.

　　此外，科学的定位与指导也是韩剧蓬勃发展的原因之一。

　　For example, South Korean cultural research institutions, subsidised by the government and businesses, are focused on studying the market for cultural competitions and offer data support for devising policies for the cultural industry, as well as for the changes it requires.

　　例如，一直受政府和商业领域支持的韩国文化研究机构一直以来都注重探索市场，提高文化竞争力，努力为发展文化产业统计数据，制定相应调整政策，以便更好迎合不同的时代需求。

　　These measures are like an effective guarantee for South Korean TV dramas to realize their expected goal, both at home and abroad.

　　上述措施无疑为韩剧在国内外开拓文化市场提供了更好的保障。