中國政府終於對韓國拍(朱蒙)做出反應了:禁止進韓劇

韓國歪曲我東北曆史,拍攝漢服劇《朱蒙》,兼為漢服申世界遺產造勢

為什麽最近決定停進韓劇呀,背後是韓國拍攝大量高句麗題材影視劇以對抗我東北工程.

中國質疑韓高句麗曆史劇,警告韓三廣電媒體KBS, MBC and SBS集團如繼續拍攝高句麗題材影視配合韓政府對抗我東北工程,將請它們徹底滾蛋.

Yonhap News 說如韓三廣電媒體將高句麗曆史劇以韓流形式向世界推廣旨在影射東北工程的話,中國政府將可能作出外交反應,五月,中國取消會見訪華韓統一部部長以示警告.

相關報道;

韓國拍攝漢服劇《朱蒙》為漢服申世界遺產造勢

據稱，朝鮮族民族服裝襦裙來源於明朝漢族女性平常愛穿的服裝，而由於種種原因在中國已絕跡，卻在韓國發揚光大，成為一大民族特色。為保護此文化遺產，韓國已向聯國提交韓服申遺書。

韓國還斥巨資對韓服拍攝電視劇《朱蒙》，為韓服申遺造勢。劇中韓服飄飄，文化鮮明，韓國自信此劇定能為申遺加分。

據了解，《朱蒙》一劇發生的背景是中國東北，韓國認為，既然東北人當年穿韓服，而韓服又是韓國的文化遺產，所以東北自然也是韓國的領土。《朱蒙》一劇之野心，恐怕不僅僅在韓服，也在中國的東北領土！韓國對中國文化及領土的赤裸裸的野心是其民族主義發展的必然結果。一旦朝鮮半島統一，中國將直接麵對一個瘋狂的民族主義國家。

中國古典史籍最早出現“朝鮮”一詞，是《尚書大傳》中周武王封箕子於朝鮮之地。司馬遷的《史記》中同樣記載，商代最後一個國王紂的兄弟箕子在周武王伐紂後，帶著商代的禮儀和製度到了朝鮮半島北部，被那裏的人民推舉為國君，並得到周朝的承認。史稱“箕子朝鮮”。而孔子正是殷商之後，商王室是東夷後裔，因此朝鮮亦是東夷後裔。在韓國曆史觀下，凡是東夷集團的，都是韓國的；這樣，孔子是韓國人，孔子提倡的韓服是韓國文化遺產，東夷集團活動過的土地也是韓國的領土就不難理解了。而同時，東夷集團卻是華夏集團最重要的盟友，大禹治水就是華夏集團聯合東夷集團同心協力創造的空前絕後的大成就。東夷集團的盟主太昊當年傳位於顓頊，不久，顓頊率領大批東夷人到達中原，此時，顓頊又繼承了他祖父黃帝的華夏集團的盟主之位，這樣，顓頊同時身兼華夏與東夷兩大集團的首領，大大促進了華夏民族的大融合。而稍後的五帝禪讓中，原華夏集團的堯就將盟主之位傳給了原東夷集團的舜。誰是誰非，一目了然。

China suspicious about Korea’s Goguryeo history dramas

Yonhap News is reporting that China is unamused by the fact that Korea’s three biggest terrestrial broadcasters—KBS, MBC and SBS—have decided to run historical dramas dealing with Goguryeo or the Goguryeo successor state of Balhae at roughly the same time.

MBC recently started up “Jumong,” a 60-part drama on the founder of the Goguryeo kingdom, while SBS will start a 100-part drama on Goguryeo from July. KBS will begin airing a 100-part drama on the history of the Balhae kingdom from September.

The Chinese reportedly suspect this to be a government-backed response to Beijing’s “Northeast Project,” which Koreans accuse of being a Chinese attempt to appropriate Goguryeo history.

Chinese broadcasting officials at the 2006 Shanghai Television Festival (STVF 2006), which ended Wednesday, apparently believed the stations to be under the influence of the government, said a KBS official who was at the trade fair. They also believed that three broadcasters’ producing of dramas dealing with Goguryeo history amounted to a Korean government response to China’s Northeast Project.

Chinese reporters and broadcasting officials were also said to have reacted sensitively to MBC’s extensive promotion of “Jumong” at STVF 2006, including its conspicuously displayed poster for the show at the broadcaster’s booth. The drama has been quite popular in Korea, garnering viewer ratings of over 30 percent.

The KBS official said there’s already considerable suspicion within China concerning the intention behind Korea’s Big 3 broadcasters running dramas on Goguryeo and Balhae at roughly the same time. He expressed concern that as we’d seen in the past with the drama “Daejanggeum,” if the broadcasters actively promote the dramas as part of the Korean Wave, the Chinese government could respond.

Yonhap pointed out that since January of the year, China’s State Administration of Radio, Film & Television (SARFT)—apparently upset about the one-way nature of “Korean Wave” imports—has stopped screening Korean dramas for import.

An official from Korea’s Ministry of Culture and Tourism said there’s been some strange things going on pertaining to the “Korean Wave” and “Goguryeo historical dramas.” For example, when Unification Minister Kim Myung-gon visited China last month, the head of SARFT, whom Kim was scheduled to meet, abruptly informed the Korean side that the meeting was being canceled four days ahead of the scheduled sitdown.

An official with the Korean Broadcasting Commission said the thing of which the Chinese government is making the biggest deal is the trade imbalance resulting from one-way Korean exports of “Korean Wave” cultural products, and that imprudent sales and promotion strategies by some Korean broadcasting companies were also a problem. He warned that broadcasters shouldn’t extensively promote in China historical dramas dealing with Goguryeo history, and that if broadcasters try to link the dramas to China’s Northeast Project, it could cause diplomatic problems.