CHINA’S ‘ HOUSE OF CARDS’

The success of anti-graft drama demonstrates power of creative freedom

Not the type of show that is traditionally popular, politically themed TV series In the

Name of People has caused a craze among Chinese audience since it began airing on March 28. A number of the show’s characters have become viral memes, while a few of the show’s middle- aged actors such as Wu Gang have gained a following among audiences in their 20s.

Flawed humanity

With its political themes and corrupt officials, many viewers refer to the show as China’s version of Netflix’s House of Cards.

In 2014, when the US drama became a hit in China with everyone from government officials to ordinary viewers, many fans of the drama hoped that a Chinese version of the drama could be made.

“I am a fan for House of Cards as well. People often criticize domestic works saying they are not as interesting, but if we were to produce a work like House of Cards would it be possible for such a work to pass the various censorship boards?” well- known Chinese mainland actor Zhang Guoli once told the press. What’s so amazing about House of

Cards? The story’s characters are probably the most important factor.

There are no real “good” guys on the show, either from a moral or legal standpoint. This made the show feel completely fresh to Chinese audiences, who were captivated by the deal- making and back- stabbing that were depicted going on in the White House – the kind of intrigue that could only be seen on a period show set in ancient times if it were a Chi-

nese show. Characters come across as realistic because they are depicted as flawed human beings. While everyone struggles for power and wealth, audiences can also see how they are trapped by their situation and therefore sympathize and even grow fond of them.

Such characters are nearly impossible to find in current Chinese film or TV works, which always depict a clear line between good and bad. But this has changed with In the

Name of People. Wu Gang’s character Li Dakang has become popular precisely because he reflects the real character flaws that a real Chinese official may have. By comparison, other lead characters such as prosecutor Hou Liangping and provincial Party chief Sha Ruijin come across as too perfect and righteous, which makes them feel less like characters and more like mouthpieces that exist solely to preach to the audience. In fact, the reason In the Name of

People can be considered a good TV drama has more to do with its themes and depiction of characters as people rather than the quality of the script or the way it is shot. Space to grow The last batch of anti- graft dramas was filmed before 2004. Works like Guojia Gongsu ( State Prosecution), Zhongcheng ( Loyalty), Juedui Quanli ( Absolute Power) and Renda Zhuren ( Director of the People’s Congress) brought depictions of a few major anti- graft cases to the silver screen to the applause of both the government and the public.

However, in 2004, such dramas were removed from prime time due to concerns about the negative impact these shows would have on audiences’ perception of the government. According to a 2004 report from ent. sina. com, authorities were worried that “corrupt officials in the dramas are being depicted in higher and higher levels of the government” and “some dramas have begun depicting power struggles between government officials.”

However, what once caused the government worry is now winning applause. The biggest villain in In the Name

of People is a national- level official, while smaller corrupt officials range from the provincial level to much lower levels. Even some people in

the police are depicted as being involved in corruption or abuses of power.

While oversight on what can and cannot be shown on TV is necessary, the depiction of “bad” people as human beings is actually in line with the government’s principles that Chinese works of art should be “close to reality, close to life and close to the public,” while also being “meaningful, artistic and entertaining at the same time.”

The regulation of artistic works requires a gentle hand. If there are too many regulations and rules to follow, this will tie the hands of creatives and producers and leave them with no choice but to make the same shows over and over again.

In order to establish an environment of creativity, the first thing that is required is space – the space to create and the space to succeed or fail within the market on one’s own. If China can accomplish this, then we are sure to see even more outstanding works such as In the Name of People be produced in the future.