In the mid-autumn festival just past, the movie "Zhu Xian I" was drawn as scheduled. As Xiao Ding's representative work,
, "Zhu Xian", "Miscellaneous Journey" and "Legend of Little Soldiers" are among the "Three Wonders of the Internet", and has a very wide community of book fans.
But after the film was released, many fans of didn't buy it, thinking that the plot was chaotic and superficial , which was a far cry from the original theme of "the world is indifferent and everything is a dog".
is on Douban, and the film only has a score of 5.4.
So far, "Zhu Xian I" has only 272 million at the box office. Compared with the film's production cost of tens of millions, this result is not impressive.
Many people may have overlooked that the producer behind "Zhu Xian I" is Xinli Media.
Xinli Media was wholly-owned by Tencent's China Reading Group last year for a price of 15.5 billion yuan after repeated listing failures.
Reading Group's overseas expansion has never stopped.
Currently, the reading has been authorized for digital publishing and physical book publishing in Japan, South Korea, Thailand, Vietnam and many other Southeast Asian countries, as well as the United States, Britain, France, Turkey and other European and American places, involving 7 languages, more than 20 partners, and authorized There are more than 300 works. Since the launch of
, starting point international has now launched more than 150 English translation works, and accumulated more than 10 million user visits.
Xinli Media’s film distribution overseas will only be a matter of time.
Although the performance of "Zhu Xian I" is currently sluggish in the domestic market, it can still use overseas markets to fight a beautiful turnaround.
How can Chinese film and television dramas break through inherent thinking and create a smooth and complete film and television industry chain that truly wins the favor of overseas markets.
"Qingfeng Finance" "Focus on Chinese Films Going to the Sea" series of topics, the last issue of the report will answer for you.
"Content production" is the top priority
In recent years, the Chinese film market has repeatedly released "satellites". The box office of a single film of
has increased from 2 billion to 3 billion, 4 billion, or even more than 5 billion, which is enough to prove the huge potential of China's content production industry.
The domestic market has started to win consecutive battles. Why does it stop when it comes to foreign markets?
Chinese film history box office champion "Wolf Warrior 2", the domestic box office reached 5.683 billion yuan, but the North American box office only won 2.72 million US dollars, accounting for only 0.3% of the total box office.
Some people say that "Wolf Warriors 2" is a major military movie, and foreigners don't like it.
Well, let's look at other cases.
In 2017, "To Youth 2" starring Liu Yifei and Wu Yifan had only 5 viewers in South Korea for two days, and the final box office was only 13,000 won, equivalent to 79 yuan.
In the 2016 Spring Festival file, "Mermaid" set a new record for the domestic movie box office.
However, the performance of the film in the North American market was not satisfactory, and the final cumulative box office was 3.23 million US dollars.
In 2015, "Hong Kong 囧" scored 1.3 million US dollars in the North American market.
searched forward and found the North American box office champion among domestic films.
is right, it was "Hero" directed by Zhang Yimou 17 years ago, with a total box office of 53.81 million US dollars.
From the perspective of market changes, the Chinese film market continues to grow and prosper, but we are farther and farther away from the international market.
Why is this?
Chinese film and television overseas expert Chen Tairan told Qingfeng Finance:
" Domestic film and television production has not considered the factors of the overseas market in the initial planning stage, so this is an inherent shortcoming. , so you are completely For works created for Chinese audiences, if they are directly moved overseas, they will certainly not achieve good market results." In Chen Tairan's view, the rapid progress of domestic film and television may not be a 100% good thing:
" The situation in the domestic market is good. Everyone is rushing to squeeze their heads to become popular products, but the market capacity is limited. There are only a few popular products each year, and most of them are cannon fodder."
If no company deliberately tries to open up overseas markets, the overseas market will always be a virgin land.
If there is no good news from overseas markets, domestic film and television companies are even less willing to try to enter overseas markets.
So, this forms a closed vicious circle.
In the past two years, many film and television companies have fallen into a business crisis and have also ushered in a wave of bankruptcies. This is all related to the lack of market-forward judgment.
The domestic film and television market has become saturated, and many talents have begun to "think change when they are poor".
Chen Tairan said:
" in the United States, whether it is American dramas or movies, they have taken into account the layout of the global market from the beginning of planning. For example, the United States Netflix has coverage in many countries around the world, and people of all languages I’ve been watching, American TV drama producers will calculate the number of members on the online payment platform, and how much revenue they earn, etc.”
However, in China, many film and television companies still lack such a broad distribution awareness.
The classic American drama "Breaking Bad" stills
Therefore, the most important key for Chinese film and television to go abroad is "innovation of ideas."
Regarding the front-end layout of the film and television industry, Chen Tairan proposed his own design:
"We should make decisions in line with the common interests of all parties with overseas distributors, brands, advertisers, etc. from the beginning.
Overseas advertisements can be introduced into the film, and domestic producers will also consider overseas market factors more when producing, and finally produce a version suitable for broadcasting in overseas markets, and then promote it to overseas corresponding markets by partners.
In this way, a complete closed loop of the industrial ecology is formed. Overseas audiences will like it more, advertisers in overseas markets are more willing to invest money, and producers will also receive fame and fortune.” In the specific production direction, Chinese-language film and television will also go overseas. Put forward my own suggestion:
"For example, we can divide into domestic version and international version, in the international version, consider the overseas spread of the cast lineup, or let the foreign behind-the-scenes team control the production of some details.
is considering After entering the overseas market, we can make some adjustments and productions to better adapt to the needs of the overseas market. But if you did not consider this market at the beginning, then it is completely lucky. If you can fire, you can’t fire. That’s it.” The
platform is built, and
has good content. Naturally, it needs good channels and platforms to carry the effective dissemination of the content.
However, it is surprising that the platform construction for Chinese film and television content is still blank.
It is the general trend of Chinese film and television to go abroad, and it is also the inevitable law of market development. When domestic film and television companies produce high-quality content, the construction of overseas media platforms is also urgent.
The establishment of an overseas version of "Aiyouten" is urgent.
On the other hand, if the overseas media platform is mature enough, it will naturally give rise to the intentional tilt of domestic film and television resources.
Chinese film and television expert Chen Tairan said:
"We need to build a platform specifically for foreigners. This platform meets the needs of audiences in all languages, and the content of the platform comes from China. This can solve the previous problems well. Those problems. For example,
is difficult to find movies on YouTube, some people cannot see the synchronized membership version, or the viewing experience is poor, etc. In fact, these problems at the channel level can be solved through a vertical positioning platform Resolve, and this form and YouTube itself does not constitute a direct frontal conflict."
Faced with the current form of film and television going to sea, Chen Tairan said:
"Chinese culture can not always rely on overseas companies, whether it is YouTube or Netflix, after all, because they are an American company. Chinese culture needs to be operated by a Chinese company in order to carry content as a window to output Chinese culture and spread Chinese voice. "
According to Chen Tairan At present, there is a strong market demand for Chinese film and television overseas.
On foreign platforms such as YouTube, Netflix, DailyMotion, and VIKI, there are nearly 100 million viewers watching Chinese content, and everyIt is still growing at a volume of 40%-50% year-on-year, and has huge market potential in terms of user growth.
Chen Tairan said:
"After the media platform in the vertical field gradually grows, it essentially becomes a traffic pool for each language, such as a Vietnamese traffic pool, a Thai traffic pool, a Spanish traffic pool, and an Arabic traffic pool.
And these traffic pools can also be realized twice, which can be combined with the e-commerce industry. China's e-commerce industry is developing in full swing at home, and this model is also very competitive abroad."
Long wind and waves sometimes
has been in the development of Chinese film and television for many years. The classification of film and television is not clear, and the style is mixed. The impression of overseas audiences on Chinese film and television is still stuck in the curiosity of kung fu movies.
With the maturity of China’s film and television industry, the export promotion of Chinese film and television overseas markets has also changed from single to diversified. The export area has expanded from a single Southeast Asian market to an international market, and the output type has changed from a single traditional Chinese film and television drama to Film and television dramas with diverse content.
Chinese film and television expert Chen Tairan concluded:
"Cultural symbols can best reflect the country's unique geographical and cultural connotations, and film and television works are also effective ways to spread Chinese cultural symbols.
"Hollywood" and Broadway are the most popular film and dance songs in the United States. Significant cultural symbols, French literary films, Japanese horror films, Indian musicals, Thai film and television creativity, etc., all represent the cultural identity of their respective countries and nations, while Chinese film and television have long used martial arts and kung fu as their national culture. Brand."
In the international market, many countries have explored China’s long history and culture before China.
They explored the terracotta warriors, imperial tombs, Mulan, Kung Fu Panda, the Forbidden City, Chinese medicine and other unique elements with Chinese characteristics in the movie. However, Chinese filmmakers are not sufficiently aware of and sensitive to Chinese cultural symbols.
Liu Yifei's version of "Mulan"
Chen Tairan finally said:
"For domestic film and television exports, it can be broken one by one according to the different characteristics of each country and region.
gunfights and kung fu are the most accepted film and television themes in European and American countries, while Japan and South Korea As well as Southeast Asia and other countries, it is possible to export traditional Chinese myths, love dramas, life and family ethics dramas, and court-style movies. Because of the geographical proximity, there are no major language and ideological barriers between ethnic groups."
Li Bai There is a poem in "Difficulties in Journey":
, "There will be times when the wind and waves break, and the sails will be sailed straight to the sea."
Chinese film and television have difficulties going to sea, but in the difficult and dangerous challenges, new opportunities and hopes are always gestated.
"Focus on Chinese Films Going to the Sea" series of topics in "Qingfeng Finance", talked about the puzzles of Chinese cultural output with Chen Tairan, a Chinese-language film and television expert.
has four in-depth reports with tens of thousands of words elaborately explained.
From the status quo of the overseas market, talking about the domestic film and television breaking the game, a series of topics covers all aspects of Chinese film and television going overseas.
We have only one wish: is the way for Chinese film and television to go to sea, and it can become more and more expansive in the coming days.
We also firmly believe that: belongs to the spring of Chinese film and television in the overseas market, and it will finally come!
