The scenes played before were almost all like this.
The simple news footage showed the true face of the mainland, and was not mixed with the mainland's overt or covert political propaganda as one had expected.
Although the tone of the narration is very calm, everything on the screen silently tells the story of the mainland's "backwardness" that is incompatible with modern Hong Kong Island.
How could it be possible that Asia Television's broadcast of such television footage is a form of propaganda to help the mainland achieve certain political goals?
MacLehose immediately felt that Director Thomson's complaint was a little too ridiculous.
On the contrary, such images of the "backward" and "poor" mainland should be broadcast more often on television, so that the new Hong Kong residents who fled to Hong Kong Island can recall those dark and terrifying memories, and then cherish the hard-earned good life in Hong Kong Island.
"As Asian television is just starting out, we need some unique, low-cost materials that can attract the attention of a specific audience. These mainland newsreels just fit the bill.
Furthermore, Your Excellency, Governor, have you forgotten our previous strategy? To penetrate that circle, replace certain individuals, and become the most 'patriotic' and 'reliable' representative of Hong Kong businessmen in their eyes?
Isn't broadcasting this mainland content the best way to send a goodwill signal to the other side and gain their trust? Let them think we are 'one of their own', which will facilitate deeper... cooperation."
I have to say that Lin Huowang's explanation is very clever.
He packaged "broadcasting mainland content" as "objective reporting" that "exposed mainland China's backwardness" and even incorporated it into the "strategic layout" regarding the relationship between the Fok family and the mainland, which he and MacLehose had previously tacitly agreed upon.
Playing the role of "red capitalists" to gain trust was part of their plan.
As MacLehose listened to the phone, the frown on his face gradually relaxed.
When he looked at the TV screen again, his thoughts and ideas were immersed in Lin Huowangcai's explanation.
That’s right!
The "backwardness" of the mainland is obvious in the picture, which is indeed in line with the perspective of "exposure" rather than helping the mainland to promote something.
Moreover, Lin Huowang's explanation of gaining the mainland's trust to replace the Huo family from a commercial perspective, using low-cost materials and a strategic perspective also sounds reasonable, and even seems very far-sighted and skillful. This is what a capable businessman should do.
"I see... Mr. Kobayashi is indeed very far-sighted and never forgets our strategic goals. This approach... is quite unique."
"Thank you, Your Excellency the Governor, for your understanding!"
Lin Huowang's voice revealed "relief" and "gratitude" at the right time.
"Thomson!"
MacLehose put down the phone and waved his hand at the bewildered Director of Information. "Don't worry. Mr. Kobayashi has his own business considerations and long-term plans. The content broadcast does not clearly exceed the standards. There is no need to pay attention to this matter for the time being."
In the afternoon, the style of Asia Television's programs changed suddenly again.
Warm family music played, and well-made Japanese subtitles and credits appeared on the screen. A Japanese TV series called "Blood Doubt" (赤い疑疑) began to play.
This is a popular drama produced and broadcast by Japan's TBS TV station in 1975, starring Yamaguchi Momoe and Miura Tomokazu. It tells a touching story about the mystery of life, terminal illness, love and family affection.
This Japanese drama was later introduced to mainland China for broadcast and became a profound memory for that generation.
At this time, "Blood Ties" is being played on the televisions of many ordinary families in Hong Kong Island, which is completely different from the martial arts dramas produced by TVB or the American comedies they introduced.
As a member of the East Asian Confucian cultural circle, the emotional and ideological connotations of "Blood Coagulation" and the way the story is presented were accepted without any obstacles by the people of Hong Kong Island.
The images in this TV series are exceptionally clear, the colors are very bright, and the characters' clothing reveals a different fashion. For Hong Kong Island in the 1970s, the scenes have both the bustling modern urban feel of Tokyo and the fresh and natural rural scenery of Japan.
Sachiko, played by Yamaguchi Momoe, is pure, kind, and yet has a hint of sadness about her fate; Mitsuo, played by Miura Tomokazu, is handsome and affectionate.
The plot tension, delicate emotional portrayal, and exquisite costumes and props formed a sharp contrast with the mainland newsreel that morning, and easily surpassed the American films introduced by TVB.
The Hong Kong audience's response to this drama was quite enthusiastic.
"Wow! This Japanese drama is so good! The male lead is so handsome, and the female lead is so pure!"
"The streets of Tokyo are so bustling! Their clothes are so beautiful!"
"The plot is so touching, Sachiko is so pitiful..."
"Japanese TV dramas are so meticulously shot, they seem to be even more sophisticated than our Hong Kong dramas."
Housewives were attracted by the emotional entanglements in the drama; young audiences were impressed by the actors' looks and fashion sense; and some intellectuals noticed its production standards and narrative techniques.
The subtle, restrained, yet intense way of expressing emotions that is unique to Japanese dramas is a fresh experience for audiences who are used to the fast-paced and intensely conflicted Hong Kong dramas.
Although the original language was not understood, the excellent dubbing and subtitles, coupled with the universal emotional themes, quickly attracted a considerable number of viewers, especially young women.
However, because it was broadcast on weekday afternoons, the group that could watch TV during this time period were mostly elderly people or housewives who stayed at home and did not have to go to work. Therefore, although this drama was well received by this part of the audience, its influence was quite limited when it was first broadcast.
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