Motherland’s mother is 70 years old, and Chinese movies have been capitalized for 40 years.
is like the ups and downs of the motherland in the past 70 years, from trough to turbulence, from turbulence to reform and opening up. In the past 40 years of film capitalization, it has also experienced the three "Great Leaps" of marketization, industrialization, and securitization, as well as the transformation of public institutions, the entry of private enterprise capital into the market, the collapse of piracy, and the unidirectional capital structure. Many sad and difficult processes such as hindered multivariate transformation.
In the past 40 years, the state has issued 28 important documents to promote the capitalization process of the film industry. This can be seen in the degree of importance. In the past 40 years, nearly 10,000 film companies have been established, merged, joint ventures, or closed down. Out of the path of mature capitalization of Chinese movies; in the past 40 years, we have experienced the lowest annual box office of 810 million (1999), and witnessed the miracle that the box office exceeded 60 billion last year. In the past 40 years, it took us nearly 24 years to realize the first domestically produced film with a box office of over 100 million yuan ("Hero", 2002). Now on the 70th anniversary of the National Day, the mainland film market has 70 films with more than 1 billion yuan. .
Faced with brilliant achievements, now may be the best time to tell the story of all the 40 years of Chinese film capitalization.
1979-1983: The economic crisis behind the Renaissance
At the Beijing Film Festival last year, Xie Fei, the representative of the fourth generation of Chinese directors, said this: There are more cinemas and movie screens today, but he still wants to go back to 1979 That era when the whole people watched movies.
Director Xie Fei's "viewing of movies by the whole people" is definitely not an exaggerated metaphor. In 1979, the number of people watching movies in China reached 29.3 billion times, the highest in history. Based on the 969 million population that year, we can make a simple conversion. The average people watched 28 movies, and an average of 80 million people watched movies every day, surpassing the record of 23 movies per capita in the "Golden Age" in the United States. It can be said that this data has long broken through the category of "viewing movies by all people". It is simply that no one has done anything other than watching movies. From the data point of view, it is no problem to call that year China's "Renaissance" year.
▲The enthusiasm for watching movies that year went deep into the countryside
However, behind the "Renaissance", there was a huge "economic crisis" hidden. Director Xie Fei of
, as an artist, is understandable to praise the spread of art, but he did not look at the market factors, political environment, and deeper capital pressure behind this achievement from an economic perspective.
First of all, the audience has been depressed for too long because of the special period of ten years. During this period, there was a famous ban on movies, which was later called "Seventeen Years." Films shot in the seventeenth years from 1949 to 1966 were not broadcasted. Instead, eight model plays were broadcast nationwide. It is conceivable that the people's desire for culture has squeezed to a culmination in the past decade.
cite a few ridiculous examples that can reflect people’s "hungry" for entertainment culture at that time: the Yue Opera movie "Dream of Red Mansions" was so beautiful that it was watched by many viewers more than 10 times in a row that year; and The imported films that year, let alone "Mother", "Orphans in the Fog", and "Bicycle Thief" these "high-end goods" from Europe, even if they were imported films from India, North Korea and even Albania and Yugoslavia that did not disintegrate at that time , Can still be "overcrowded."
▲The 1962 Yue Opera "Dream of Red Mansions", the youthful memories of two generations
Now fans should not be surprised by such a "prosperous age". You must know that there were no smart phones, online platforms, social media, and game consoles and TV sets in China that year. Even the dance halls and video halls were "scarce resources" only available in big cities. And movies that can be watched by hundreds of people with "a piece of white cloth + projector" are naturally the mainstream of entertainment life.
On the other hand, all the films of the "seventeen years" were not fully unblocked until 1979, so the number of films on the market had reached a peak that year (433 feature films were released throughout the year), and they had to be " Digested. In order to allow the market to eat so many films, the State Council has successively introduced the "3, 7 policy" and "2, 8 policy" to support the development industry. The result is a huge "profit upside down" between the distribution and the studio.
▲The so-called profit upside-down means that the more money A makes, the more money B spendsThe more
don’t forget, China just started economic reforms in 1979, and many old habits have not been lost! How did you make the movie then? The state allocates funds to the Ministry of Culture, and the Ministry of Culture allocates funds to state-owned studios. The state-owned studios complete the required number of films according to the indicator, which is the KPI we are now talking about, and then sell the films to China Film and Studios at a uniform price. Issued by your local government. Since movies were monopolized, and there was no concept of "production splitting" at that time, the studio's income was "dead" no matter how good the movie was. This kind of profit inversion caused a huge difference in the income of the two industries at that time, reaching 49.4 times at the highest.
Where did the box office revenue go? Naturally, all of them let the distribution make money. But where does the issue cost the money? Don't worry, the total box office revenue of 900 million in 1979 was not squandered. The money earned from the distribution of China Film, except for self-support, must be returned to the Ministry of Culture, and the Ministry of Culture will continue to use the money to distribute the money to studios for new movies. The money made by local government distribution is even more useful-repairing theaters, libraries, museums, and cultural attractions. This is only the third year after a special period of ten years. The culture industry is short of money, and "cultivating culture with movies" has become the norm at that time. In order to restore the country to life as soon as possible, local governments have no extra money to return to the film industry.
▲There are too many cultural infrastructures destroyed,
needs to be rebuilt, and the studio has no choice but to make movies hungry. Although it doesn't make money, some people watch it anyway, and the word of mouth spread, and it has become "the best era of Chinese movies".
The people want to watch movies, the backlog is too much, the profits of production and distribution are upside down, and the local government has no money to rebate... Although 1979 was an era when all people watched movies, it was not an era when the movie economy was smooth. But we can't find any faults in every aspect, after all, they are paying for the special period of ten years.
faced this situation, and chaos is bound to occur in the long run, and the first to fall are the studios that are almost unable to eat. So in 1980, the Ministry of Culture issued Document 1588 to abolish the previous monopoly purchase of 700,000 films issued by the industry. The new conversion method allowed the studio to increase the price of each film to 900-1.08 million. Small changes have significantly improved the profit margin of the studio. The average cost profit margin was 99.2% this year and has exceeded 80% for several consecutive years.
But a new problem appeared again-China Film could not hold on. As the only film distribution company in China at the time, China Film had two responsibilities: first, to purchase films from studios in accordance with KPI requirements, and to introduce foreign films; second, to deliver the films to the local government for screening, and then share the box office with them . Since China Film is mainly an intermediate "hub", regardless of the screening, it is naturally the lesser party when splitting the accounts. Therefore, the increase in the price of film purchases has undoubtedly become a huge burden for China Film. In 1980, China Film's profit margin dropped to 8.12%, and it was even negative for three consecutive years, with a total loss of 67.615 million. During those three years, China Film could only rely on imported films to maintain profitability.
▲ Don’t look at China Film as such now. I have been wronged by
. The local government’s situation of “supporting literature through electricity” continues, and there is still no money to return to the film industry. Still the same sentence, blame it for the special ten-year period...
In order to stabilize the economy of every link in the film industry, in 1984 the country finally released a big move, promulgating the "CPC Central Committee on Economic System Reform" "Decision", since then the studio has transformed from a public institution to an enterprise, and began independent accounting, responsible for its own profits and losses, through bank loans to do projects, and then pay taxes, thereby reducing the burden of China Film's distribution. It seems that this is no different from today's model, but at the time it caused new problems.
1984-1989: The days when big brothers borrowed money to make movies.
Zhang Yimou in 1984 was very excited. Because of the success of "One and Eight" the previous year, the Beijing Film Academy, led by him, sent four people to their director Wei Bida. Two requirements: First, they want to shoot "The Yellow Earth"; second, they need Chen Kaige.
Chen Kaige in 1984 was stunned, because Director Wei of the Guangxi factory actually came to ask him to be an intern at the Beijing Film Studio for four times his salary. He thought to himself: The other party must have taken a fancy to my talent, my resources, and my artistic attitude, so I have to ask for it. So he wrote by himself"King of the Kids" told Wei Bida: "I have a script here. See if you can shoot it quickly, it will be fire." Wei Bida chuckled and said, "It doesn't count, you ask them." Chen Kaige was handed over to Zhang Yimou and others. Chen Kaige took a look at his old classmate: "Don't say anything, I have a script here, you can take a look at it..." "Go, shoot "Yellow Earth", you will be the director, and you will be on fire." (The above dialogue is based on truth. Event adaptation)
In this way, Chen Kaige suddenly became the director of "Yellow Earth", and Zhang Yimou did his photography. The two of them went to the Northwest for shooting together and ran into Wu Tianming.
▲The two people who made "Yellow Earth"
Wu Tianming in 1984 is already the director of the Xiying Film Factory. Who in the circle does not know? At that time the studio had just transformed, and the Guangxi factory was a small factory. The money that could be used to make a movie was already low. Chen Kaige and Zhang Yimou combined, or borrowed something from Director Wu, and went up there. Wu Tianming was very happy to see the two of them: "I know Chen Kaige, your father Chen Huai'ai and I had a drink." "You are Zhang Yimou, I watched your "One and Eight" and it was really good." Atmosphere, the two stunned greens at that time stopped seeing Wu Tianming, so they opened their mouths and asked for money. Wu Tianming is also a refreshing person and didn't hesitate to hesitate: "You can lend you money, but there is a condition, Zhang Yimou, you have to come and do photography for me in my next movie." Zhang Yimou immediately agreed repeatedly, and the money was borrowed.
Later, "Yellow Earth" was a big success, won the 1985 Golden Rooster Award, Chen Kaige was a blockbuster. Later, in 1986, Wu Tianming "does nothing but never stops" and dug Chen Kaige and Zhang Yimou from the Guangxi factory to the Xiying factory.
They did not notice that television had begun to spread across the country in those two years, and the number of people watching movies across the country dropped sharply by 5.2 billion. In order to maintain profitability, movie tickets even won the first price increase (0.35 yuan to 1 yuan) in 50 years. The crisis of "career-to-business" is coming quietly. But now the big brothers in the Chinese film circle were still sticking to the forefront of art, borrowing money to make movies.
Zhang Yimou in 1986 was stunned because Wu Tianming, the director of Xiying Factory, came to dig the corner himself. However, Wei Pida had a good understanding of Zhang Yimou, and he did not want to leave easily. The arrogant Wu Tianming was still not long-winded and let Zhang Yimou directly open the terms. The honest Zhang Yimou racked his brains and mentioned two conditions that he thought the other party would never achieve: one, to change his wife to a city residence; two, to increase his salary. As a result, Wu Tianming not only took care of everything, but also provided a distribution room.
▲Wu Tianming (middle) and Zhang Yimou (right) who later worked together,
, were no longer able to go. After all, they had promised to do photography when they borrowed money. But Wu Tianming refused to let Zhang Yimou do photography, and insisted that he be an actor in "Old Well", which made Zhang Yimou completely confused. Moreover, in order for Zhang Yimou to perform that energy, Zhang Yimou was "closed" in the countryside for more than a month to adapt to the role regardless of the cost. The whole crew waited for Zhang Yimou to "go out". Finally, "Old Well" made Zhang Yimou the first Chinese actor at the International Film Festival, and Wu Tianming also won numerous awards. There are too many honors, and no one cares about how much money was spent on the film, and the cost was confiscated. After all, you can't talk about money with art.
▲ Zhang Yimou who was driven "crazy" by "Old Well"
Chen Kaige in 1986 was very excited because Wu Tianming, the director of Xiying Studio, came to dig the corner himself. Before Wu Tianming could speak more, Chen Kaige took out "Kid King": "Don't say anything, I have a script here. If you can make it, I will go." Wu Tianming cherishes his talent, immediately It was agreed, so "Kid King" also started shooting immediately. Although the response was mediocre in the end and the box office was not good, Chen Kaige realized his dream and Wu Tianming dug up talents, so no one cared how to pay back the losses and the money borrowed to make the movie.
Wu Tianming in 1986 did not realize how big a "capital pit" he was digging. This year, many movie theaters across the country have been converted into dance halls and video halls. Hong Kong films and Hong Kong culture prevailed, and the number of movie viewers fell by 1 billion every year.
▲In order to make money, many theaters adapted to the market and transformed into dance halls
. In 1988, the West Film Studio has become a frequent visitor to international awards. Many members of the West Film Studio have become leaders in the Chinese film industry. They represent the pinnacle of Chinese film art. But the internal capital operation was poor, and no one cared about their fiscal deficit of close to 20 million yuan. That year, Zhang Yimou made "Red Sorghum", and the sorghum in the shooting location was not pretty.Wu Tianming did not hesitate to approve 50,000 yuan for the crew to plant new sorghum shots. The sorghum photographed is gorgeous and beautiful.
A series of factors have shaken the position of director Wu Tianming. By the beginning of 1989, Wu Tianming, who was interviewed, was still planning a movie for the year, but he suddenly resigned in the middle of the year. Many people gossiping and talking, after all, everyone loves to read stories. But no one noticed the sentence in the report at that time: Xiying Factory’s debt has far exceeded 20 million.
▲ Wu Tianming, who retired in 1996, was at the Tokyo Film Festival. Next to Hou Xiaoxian.
Wu Tianming must have excellent resources and background in the northwest region, otherwise he would not be able to borrow so many films to make movies. But people like him and big studios like West Film Studio can't bear the pressure of loss, let alone other studios that are also loss-making? In recent years, the big brothers of the country's filmmaking have done a good job, and the art of Chinese film has taken a big step forward. However, the cost of loan filming at no cost, the enterprise transformation is at a loss-everything has allowed the capital of Chinese film to stay in place and prohibit stagnation.
Wu Tianming's retreat has sounded the alarm for the national studios. In the following years, in order to make profit to help repay the loan, many studios began to shoot entertainment films, and even romantic female pornographic films, which were once criticized by the media as "dirty, messy and bad". This situation was not improved until 1991 when the state took actions to rectify and required more filming of historical and revolutionary subjects. However, the revenue from distribution and screening fell by 20% in 1992. The total revenue of the national studios was only 168 million, not to mention profit, and the repayment was not enough. Obviously, the problem facing Chinese films at this moment is obviously not in content, but in capital operation. How to make a profit becomes the next long-term problem.
1993-2002: The dawn of capital, the twilight of the market
is like the current personal loan without changing the line, there will be credit problems. At that time, the studio will not pay for the film year after year, and there will be credit problems. By the early 1990s, banks were no longer willing to lend money to studios to make movies. In order to prevent studios from running out of money, the state began to invest money in making movies. But after all, only a few can be funded, and most studios are on the verge of bankruptcy because there are no films to film.
saw this situation and remembered 1984, and it was time to zoom in again. So at the beginning of 1993, the Broadcasting and Television issued Document No. 3, interrupting the distribution monopoly of relevant departments and local governments, and allowing studios to distribute by themselves. What is the significance of the
file? It can be called the first glimmer of Chinese film capital at the bottom of the valley.
First of all, the studio can do the distribution, that is, it can split the box office, and make more money, and at the same time, it has also spawned a business model that has been popular until now-co-production. How many classics were born in the co-production with Hong Kong at that time, don't you need to go into details? (Representative works: "Farewell My Concubine", "Living")
Secondly, it releases China Film from years of release pressure. Prior to this, China Film had been under pressure from all domestically produced films and all imported films every year, and had to constantly communicate with local governments. Now that I am released, I have the energy to do other business. For example, helping Beijing Film Factory to link capital to establish a brother company, Forbidden City Pictures (representative works "Party A and Party B", "A World Without Thieves").
The only thing that is hit by interests is the issuing agency of the local government. But after all, it has been more than ten years since we have been "supporting literature with electricity", and it is time to pay interest to the film industry.
Although the number of movie viewers is still declining, when the distribution industry is completely opened up, many new "games" have begun to stimulate the film industry, and studios have finally begun to make profits.
Like in 1993, the Hong Kong film "Once Upon a Time in the Lion King" was released in the mainland. The Hong Kong company saw the Chinese film studios in a two-round split settlement method, "dazzled", not only earning money when selling the film, but also You can do your own distribution and show the film independently to make a profit. The prevalence of co-productions has not only attracted more and more foreign capital, but also gave Chinese capital the first opportunity to go global. In 1994, China Film and Warner Bros. jointly filmed "Death End". Not only did it achieve a box office of 25.8 million in China that year, it also took the first step in the Chinese film market.
▲ The first part of the Chinese film market "Death of the End"
However, the slow rise of capital can not stop the market's malaise.
First of all, due to the popularity of VCDs, pirated VCDs are rampant, and concealment and underreporting, smuggling and piracy are common. By 1994, there was a lot of corruption in the film industry. At the same time, the large-scale films are unevenly divided (both imported films and co-produced films), and the producers are extremely slow to pay back and cannot collect the tickets. Although the government has introduced "double unification" and "double knot" supervision methods, they have not been effective. Foreign-funded enterprises are difficult to supervise, and domestic cooperative enterprises have immature business and cannot completely "play" with each other. By 1995, even the annual profit of the Western Film Studio, the most profitable, of 6.04 million, was not as good as the release of a "Red Pink" by the American Ocean Company.
▲ Many people don't know that "Red Pink" is released by an American company
. On the other hand, the people's enthusiasm for watching movies has dropped to a freezing point.
First of all, because of the Nine-Five-Five Zero Project, the main theme movies became the mainstream, but the main theme film at that time was still the routine of the previous red film, which was not as catching as the main theme after commercialization. At that time, only one summary could be drawn. Words: ugly.
And art films were blocked by the market at the time, which led to many directors beginning to transform. Zhang Yimou and Chen Kaige started shooting commercial films one after another. Feng Xiaogang turned to New Year's film after being forced to stop in "Living an Unbearable Life" (later "Sigh").
, the sixth-generation directors who just started to emerge, both wanted to win international awards to prove themselves, but did not dare to lose money due to the limitation of subject matter and could not be released in China, so they began to recoup their costs by relying on a large number of overseas releases. Wang Xiaoshuai's films will be distributed in more than 150 countries and regions, and Jia Zhangke even sold his films to Estonia.
▲ In addition to Estonia, Jia Zhangke's "Xiao Wu" has also been sold to mainstream cultural countries such as France and Japan
. Second, it was the hottest period of reform and opening up. People in the county towns and rural areas are addicted to working in the city, and those in the city are addicted to doing business in the south. Everyone has no intention of entertaining and being obsessed with entrepreneurship. It is understandable that movies are left out. Although there was still a short-term movie-watching boom and a high box office of 359 million when "Titanic" was released in 1998, the box office of Chinese movies was extremely cold from 1994 to 2002. The annual box office was only 810 million (1999) at its lowest and 1.4 billion at its highest (1998). It feels unbelievable to say that such a result is even a failing result for some blockbuster films. But at that time, it was just this little box office that accompanied the Chinese film market through the cold winter for 10 years.
▲The only market rebound in the cold winter, but the end of the story still hit an iceberg
We have to admit that due to the help of the state, China's capital rose in the 1990s. However, the immaturity of the market still leaves no room for capital to exert its strength. How to turn the film market into a prosperous industry continuously beat every filmmaker at that time.
2003-2009: Private capital enters the market, and the prosperous age is coming,
is a cold winter decade. Everyone is looking forward to another big move, like 1984 and 1993, to help Chinese movies out of the quagmire. The answer given by the
country is: Yes, but this time I can’t rush. After the two major adjustments, the state has realized that Chinese films can no longer "inject an injection" as soon as a problem occurs. The problem needs to be cured. After the content is marketed, capital needs to be industrialized.
In 2000, something that seemed to be big now, but small at the time—China Film, Shanghai Film, and Long Film were grouped at the same time that year, and was given the three major links of production, distribution, and screening by the state. Mission in control. The purpose is obvious, to be a company in the entire industry chain. Unfortunately, at that time, many people in the film industry might not know what the "whole industry chain" was, so they didn't care about it.
Another thing happened in 2001, which seems to be big now, but small at the time—in order to speed up the construction of theater chains and the renovation of theaters, the local government allowed the absorption of capital from domestic private enterprises. Many of the brands we are familiar with now, like Beijing New Film Federation, Sichuan Pacific, and Jiangsu Dongfang, all started at that time. Unfortunately, at that time, many people in the film industry saw that the annual box office couldn't even pass 1 billion, and they still asked why so many theaters were useful.
Everything was ready. By 2003, a new rule that changed the fate of Chinese films was implemented-the State Administration of Radio, Film and Television held a national film work conference and announced that private capital in the domestic non-film industry would be allowedThis investment in the film industry. Although some people still feel that this change has caused coal bosses to throw money into movies randomly, which has led to chaos in movie content. But the excessive capital of countless other industries has been injected into the film industry, undoubtedly giving this sleeping "beast" alive.
▲The National Film Work Conference organized by Radio and Television
A large number of film companies headed by Huayi Brothers began to emerge, and with the excellent capital resources and business models behind them, they quickly listed their own film and television companies on the A-share market. The financing strength is evident. Compared with state-owned enterprises, the market flexibility and sensitivity of private enterprises are indeed far superior. Rao Shuguang, president of the Chinese Film Association, pointed out in 2013: “State-owned enterprises are burdened with heavy burdens, inflexible systems and mechanisms, and rigid and restricted in some aspects, preventing them from playing an active role... Private enterprises are good at enjoying policies in the reform of the film industry. Dividends.”
On the other hand, private enterprises have also cooperated with the state to vigorously improve the theme of the film, making the slogan of "commercialization of the theme film" a reality. In order to encourage private enterprises to make more movies with the main theme, the government has also given corresponding benefits. The most direct way is financial support. The first is that the main melody movie gets a follow-up subsidy after it is broadcast on the movie channel; second, more importantly, bank loans will give the main melody movie a big green light. For example, in 2009, Huayi Brothers received a financing loan of RMB 120 million from Industrial and Commercial Bank of China for the four main melody movies represented by "Tangshan Earthquake", and three films including "October Besieged City" by Bona Pictures received 5500 Million loans.
At the same time, more and more main theme movies began to use star actors, including Hong Kong and Taiwan stars. Because the most obvious feature of commercial films is the star system, which is the most direct way to combine the main theme film with commercial films. But this model was quite controversial in the beginning. As early as 1999, Leslie Cheung starred in "Red Lover", the main theme movie, which aroused considerable public opinion. The audience did not accept that the great man in the main theme movie was starred by a Hong Kong star. The sense of violation was too strong.
However, after the slogan of "commercialization of the main theme" came out, the photogenic rate of Hong Kong and Taiwan stars was even higher, such as "On the Taihang Mountain" by Liang Jiahui and Liu Kaide, and "The Ballad of Clouds and Water" by Xu Ruoxuan. Watching these are all state-funded films. In order to start to use Hong Kong and Taiwan actors unscrupulously at the box office, private enterprises will not even care, and all the stars who can make arrangements are arranged. The
model reached its peak in "The Founding of a Country", with more than 190 stars in the film, and they are all free. "October Besieged City" was defined by the producer Chen Kexin as a "private theme", and it also gathered a large number of stars from China, Hong Kong and Taiwan, and the box office revenue was significant. There are two important reasons why
stars are willing to participate in the main melody movie. First, they are easy to win domestic awards and accumulate popularity to create momentum for themselves, which will kill two birds with one stone. For example, Li Bingbing won the Golden Rooster Award after successively filming "Yunshui Yao" and "The Wind". At the same time, the star-making ability of the main melody movie has become more and more powerful. Zhang Hanyu directly won the Hundred Flower Award with "Assembly Number", and then became a household name and became the current "Red Star Brother". Next, the main theme movie funds are in place, there is no need to worry about the issue of remuneration, private enterprises are convenient for financing, and the state investment and shooting are generally large-scale, such as "Taihang Mountain", with a total investment of 50 million, and the Central Military Commission invested 35 million.
▲The main melody movie "Assembly Number" allowed Zhang Hanyu to top the line. After several years of "main melody commercialization",
has become a commercial movie in 2009. It must be deliberately aligned with the main melody movie, and finally both sides are classified as first-class. Unification. The main melody movie is no longer dismissed by the audience, and finally embarked on a complete production line. Nowadays, it is the most important film type in the Chinese film market.
The domestic film market finally got on track with the participation of private enterprises. At that time, many people also felt that it was time for Chinese films to take off. But what many people didn't expect was that they could fly so fast?
2009-2019: Ten years of take-off, the movie power
Huayi Brothers' listing in 2009 is of historical significance, not only because it proves the investment and financing capabilities of private enterprises, but more importantly, it will attract groups of imitators. So we then saw Jiahe Entertainment, Huace Film and Television, and Guangguang Media have been listed. These are the leading companies in the film and television industry today.
There are more and more listed companies in the film industry, which means that Chinese films have officially enteredThe era of securitization.
In the first two years, who Feng Xiaogang sprayed and whom Li Bingbing was in love with could become the topic of the masses for a week, because they directly drove the company's stock price and affected the capital operation of the entire film industry. While big-name directors and celebrities have become the hottest topics, they have also become the number one benchmark for box office performance. For this reason, many companies do not hesitate to make a lot of hype to cause topics, especially at this time has entered the mature period of the Internet era, and the influence of traffic is increasing. Therefore, it is inevitable that "traffic stars" have become hot words in the past few years, and they are controversial and understandable, because they are directly linked to capital. In addition to the war of words of netizens, the naked eye can see more The impact on stock prices.
▲ Feng Xiaogang, reporter still has the heat
However, when the market value of listed film and television companies is getting higher and higher, more and more people want to take advantage of them. Since 2013, various film and television companies have sprung up. They all want to complete asset securitization by means of mergers and acquisitions and backdoors, and realize a capitalless transaction that makes a wave of money without making movies. These abominable scam companies have directly led to the skyrocketing salary of movie stars and even box office fraud. The most direct impact was the tax turmoil last year. Fortunately, the tax turmoil did not destroy the truly powerful companies, and it did clear the “stains” in a large number of industries.
▲ Although the tax wind fluctuates greatly, it is not all negative.
Today, the securitization rate of the top ten domestic cinema companies has reached 90%, and they are the most powerful pioneers in this "Golden Decade". However, now that China's economy is developing rapidly, this ranking may change at any time. Especially in this Internet age. The prosperity of the Internet has also promoted the "integration" of the two industries. When Alibaba and Tencent successively established Ali Pictures and Tencent Pictures, and when Xiaomi became a shareholder of Huace Film and Television, we could feel that Chinese films are entering a new stage. It's just that China's annual box office still has the possibility of growth, so the changes brought by Internet companies may not be seen until China's box office reaches a bottleneck period.
▲The establishment is short, but they are full of confidence, because the most important thing for Internet companies is cash.
Nowadays, the achievements of Chinese movies after taking off need not repeat them. Friends who often follow this industry may already have an annual box office of 60.65 billion. The annual box office has risen 50 times in 14 years, and the data of 6,076 yuan on national screens just came out. Some fans of
will raise questions, believing that big capital has left Chinese movies without high-quality content, and it is not advisable to pursue only the box office. But this is like farmers who want to produce more grains, workers must produce more materials, and scientists must produce more research results. Chinese films also need more high box office to liberate productivity, to make profits, and to go market-oriented. This is the only way to go from a small workshop to a large enterprise.
Although there are already many listed companies in China, their market value is still not as large as that of major American companies. The market value of the top six Hollywoods worth hundreds of billions of dollars is something we cannot envy for the time being. Therefore, we don't have to take commercial blockbusters to take care of the public, and shoot many non-profit art films to take care of a small number of core fans.
The current Chinese market is definitely dominated by popular tastes and commercial films. But I believe that when our film and television company develops to a market value of 100 billion U.S. dollars, it will certainly be able to shoot art films that do not lose to Europe and the United States, just as we have already made commercial films that do not lose to them during the growth period (making money stage).
▲This year’s National Day file is so strong, I didn’t dare to think about it before the release of
China Film Capital’s 40 years. To be honest, the first 30 years have been black and focused on exploring the way, but after that window is opened, we can spend 10 years on it. Becoming a big movie country, this achievement is proud enough. Don't say that Chinese movies are not good just because of the low awards or the low ratings. It is much harder to become a capitalist in such a short time than to win. We have reason to look forward to the next 40 years of Chinese cinema, and the next 40 years of the motherland, both will be better.
