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o seguir nuestras RSS.

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“Sexo, drogas, Internet”. Este título de una canción del grupo chino New Pants (paradójicamente vinculado al rock and roll) es tan sólo una muestra de la importancia que la Red ha alcanzado para los jóvenes urbanos chinos. “Quedarse en casa / nunca salir fuera / encender mi ordenador”, comienza el tema de New Pants. Y es que Internet no sólo se ha convertido en las grandes ciudades chinas en la herramienta de comunicación por excelencia, sino también en un nuevo universo cultural que cuenta con tendencias y reglas propias.

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Uno de los sectores que con más fuerza se ha volcado en este nuevo universo es el del cine. Durante los últimos años, directores profesionales y amateur se han lanzado a la producción de películas y cortos pensados para ser vistos online. En el año 2010, uno de estos films, Old Boys (???), se convirtió en un fenómeno de masas al alcanzar en unos pocos días más de 50 millones de visitas. Dirigada e interpretada por el joven pero experimentado Xiao Yang (??), los 42 minutos de esta película fueron tan exitosos que en el año 2014 se estrenó una versión cinematográfica.

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En Old Boys están muchos de los elementos que suelen garantizar el éxito en el internet chino. Para empezar, está dirigida a los jóvenes, los principales usuarios de la Red y los más activos a la hora de compartir y comentar contenidos. En este caso, el film cuenta la historia de dos adolescentes que soñaban con ser músicos y fueron abandonando sus sueños a medida que se hacían mayores, con numerosos guiños a la generación nacida en los años 80 y las dificultades prácticas a las que se enfrentan hoy las familias en China. “Nuestra época nos dio la oportunidad de soñar, pero la presión que existe hoy ha llegado a un punto extremo, por eso la mayoría sólo puede buscar la felicidad en sus recuerdos”, decía a los medios chinos Xiao Yang refiriéndose a la nostalgia que impregna su película.

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Además de dirigirse a los jóvenes, de ser humorística, sarcástica e irreverente, Old Boys contaba con el apoyo de una de las grandes empresas del internet chino, Youku. Esta plataforma de vídeos, similar a Youtube, se alió con la China Film Group Corporation para financiar los proyectos audiovisuales de once jóvenes directores y animadores chinos. Al proyecto se le llamó The Bright Eleven (11???) y es una muestra de cómo las grandes empresas del internet chino están contribuyendo (básicamente porque les resulta muy rentable) a la difusión de nuevos géneros culturales en la Red.

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\"diario-de-kuang-kuang-animador-pisan-animacion-en-china\"Entre los 11 elegidos por Youku también estaba un animador que llevaba triunfando de forma independiente desde hacía algún tiempo: Pi San (??). Su éxito más fulgurante le llégo en 2009 con “Diario de Kuang Kuang” (????), una serie de 20 capítulos que sigue la vida de un estudiante chino en los años 80. Estos breves episodios de entre 5 y 10 minutos, llenos de crítica social, le convirtieron enseguida en uno de los animadores más prestigiosos del mundo de internet, encandilando a millones de seguidores que no estaban acostumbrados a retratos tan duros, honestos y violentos sobre la vida en China. “Quería utilizar el punto de vista de un niño para expresar las complicaciones normales y corrientes que tiene cada persona: el enfrentamiento entre el individuo (el niño) y la sociedad (los mayores); o dicho de otra forma, el conflicto entre el individuo y el sistema”, explica Pi San.

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El caso de Pi San muestra el prometedor futuro que la animación tiene en China (todavía muy por debajo de sus posibilidades) y las nuevas fronteras en la libertad de expresión que ofrece Internet. Los capítulos del “Diario de Kuang Kuang”, donde se critica de forma contundente el sistema de educación chino e incluso se coloca una bomba en una escuela, probablemente se hubieran encontrado con la censura en cualquier televisión china. En Internet, sin embargo, los límites son algo más amplios y difusos, y aunque en los últimos años el gobierno ha aprobado nuevas leyes para controlar los contenidos de las plataformas online (especialmente de webs como Youku), lo cierto es que estas empresas privadas (a diferencia de los medios de comunicación, que son propiedad del estado) tienen importantes incentivos económicos para promover todo tipo de contenidos polémicos.

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Además del cine y la animación, también la literatura ha creado nuevas tendencias en el mundo digital. Uno de los géneros de los que menos se habla, pero que casi desde el comienzo de internet ha contado con millones de lectores, es el de las novelas de internet (????). Incluso con los antiguos teléfonos Nokia y sus diminutas pantallas, los chinos solían ya descargarse novelas por capítulos (pagando un módico precio) que leían en el metro camino del trabajo. Todavía hoy, este tipo de novelas triunfa entre los jóvenes (especialmente mujeres) y suelen tratar temas fantásticos, romances de amor o historias urbanas.

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Internet ha provocado también que otro género literario haya ganado adeptos en los últimos años: la literatura flash (???). Se trata de pequeños relatos que van desde los 300 hasta los 1.000 caracteres, y que si bien se pueden publicar en papel, muchos lectores consideran más natural leer a través de las redes sociales. Bajo el pseudónimo de Lao Ma (??), Ma Junjie, profesor de la Universidad del Pueblo de China, se ha convertido en uno de los máximos exponentes de este género, con relatos que destacan por dos cosas: su brevedad y su sentido del humor. “Mucha gente siente interés por la literatura flash porque nos encontramos en una época mucho más de pequeñas historias que de novelas de Tolstoy”, reconoció Yan Lianke, uno de los grandes novelistas chinos, en una conferencia junto con Lao Ma celebrada en el Festival Internacional de Literatura del Bookworm de 2014.

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A parte de géneros y autores específicos, lo cierto es que la influencia de internet en el mundo cultural chino es mucho más permeable y está presente en muchos otros espacios culturales. Sina Weibo, por sus características técnicas, puso de moda durante mucho tiempo compartir textos e imágenes en un formato alargado y vertical, una tendencia que se extendió a gran parte de la cultura popular. China es probablemente el único país que cuenta con una multitudinaria y muy utilizada red social destinada a eventos y productos culturales: Douban. Y figuras como Han Han o Guo Jinming, dos de los jóvenes escritores más populares de la última década, deben gran parte de su éxito a su inteligente uso de blogs y redes sociales.

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Una parte de este éxito de Internet en el mundo cultural chino se explica por los límites de los canales tradicionales a la hora de incorporar todas estas nuevas tendencias. Televisiones, radios y periódicos se han mostrado durante estos últimos años mucho menos innovadores, reivindicativos e irreverentes a la hora de seducir a los jóvenes y ofrecerles propuestas culturales acordes con sus gustos e intereses. Cada vez más, la cultura china está encontrando nuevos espacios en el universo de Internet.

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