ScholarWorks@숙명여자대학교

초록

Chinese children’s literature is rapidly changing at the speed of light. I believe that this change in Chinese children’s books is closely related to the ecosystem of China’s new cultural content business, called ‘pan-entertainment’, and is a special situation in which China is seen at the time. Considering the possibility of the world’s largest children’s publishing market, the current trends of change in Chinese children’s literature reqiure research and attention. Therefore, this study aims: 1. to provide an understanding of the current status of Chinese children’s literature, which is being changed and expanded due to various crossover between media, serving as the basis for the study of Chinese children’s literature; 2. to reveal the essence and direction of children’s literature, identifying the point of change and expansion of Chinsese children’s literature at the time; 3. to summarize the concept of pan-entertainment, a Chinese-style crossover cultural brand, as an example of Chinese children’s literature. China’s pan-entertainment refers to a matrix-style business ecosystem that is reborn in various media formats, focusing on content that has formed a strong emotional bond with users. Among them, children’s literature is Blue Ocean, which can be used as a key IP(Intellectual Property) for pan-entertainment, and this is why I said that the change and expansion of Chinese children’s literature at the time is closely related to pan-entertainment. This study considers the case of expanding to cross-over with children’s literature and other media. 1. Weibo(微博) + Fairy Tale: Wei Fairy Tale(微童话) is an example of the possibility that when literature is combined with new media products, readers can become writers, and that not only text-oriented fairy tales with a lot of writing can be fairy tales, but also short image-oriented fairy tales can be. 2. Smartphone APP + Picture Book: Kada Story(咔哒故事) is growing remarkably with various star IPs of pan-entertainment, but the service that focuses on early education is characterized as a hot media. 3. IP Market + Children’s Novel: ‘Mixiaoquan(米小圈) Series’ is a symbol of elementary school students of the time when literary content is active under various licenses. This is an example of how important literary IP is in the pan-entertainment ecosystem that has gained children’s consensus. 4. Internet Games + Literature: Online Game Children’s Literature(網遊文學) is a literary content created for children’s users who have experienced online games, and it is an attempt to expand the playing media to reading media. It is a transition of the creator’s mindset and a reversal of the style of chldren’s literature, which traditionally was unilateral and centralized. 5. Literature + Experience Activities: ‘Umji Banjang(拇指班長) Series’, the award-winning elementary school senior novel, expanded its user experience with a pan-entertainment strategy to include comic versions, watching animations with QR codes, activity filming Umji Banjang’s films at summer vacation theme camps, listening to radio dramas on writing topics, Umji Banjang theme bookstores and milk tea cafes. The main body of Chinese children’s literature has gone through national ideology and educational socialization messages, and is now shifting to a clever commercial media strategy that seeks commercial profit. Nevertheless, the epistemological changes brought by new media technology leave open the possibility that children can stand as the Subjects. Although it is due to commerciality, as literature and multimedia experiences are diversified, children’s consumers become the true Subjects.

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