The author of this article: Chen Changye (pen name: Shitong), the header picture comes from: Huxiu (photographed by Zhang Yiran)
The summer season is more than halfway through, and the annual box office is less than 30 billion, including 8 billion in the Spring Festival period in 8 days, and more than 200 days in the remaining days. The daily average is 100 million. There were 46 films with a box office of over 100 million yuan, 26 films with a box office of over 200 million yuan, and 18 films with a box office of over 300 million yuan... How many of these films made money after the huge production costs and publicity costs? More than 10 movies? Or 20?
Also, among these over 100 million films, 7 have an average audience of more than 10 people per game, 4 of them are Spring Festival films, and 14 films have an average audience of less than 5 people per game.
What kind of Chinese movies are we facing with our huge number of screens?
Comedy, comedy, comedy, comedy, Jia Ling, Shen Teng, Ma Li, Shen Teng and Ma Li, these are the characteristics of the top four films at the box office throughout the year.
Chinese films are facing difficulties. The market seems to be becoming narrower and the audience seems to be becoming simpler. Are viewers who vote with their feet necessarily correct? There can’t be just a few types of good movies, let alone just one kind. One flower blooming alone is not spring, but a hundred flowers blooming together fills the garden.
Creators and many investors are working hard to use innovation and risk-taking to make different movies and discover new needs of the audience. The price of innovation is of course cruel. The market has given many creators and investors almost extinction. "Lessons" - But are the market results necessarily correct? Do we really want to see only results that are proven correct become the norm?
" Falling into the Mortal World " " Umbrella Girl " " Laifu Hotel " " Under Strangers " " Zhu Tong Lost His Super Power in the Third Grade "... This is the summer file so far One regret after another, a hundred flowers contended, but failed to bloom. In August, we are about to usher in " decrypts ", " safely evacuates from the 21st century ", " negative negative makes positive ", " rushes into "...
The bravery of film creators should not be too often Facing sacrifice. July's flash in the pan, the animations "Falling into the World" and "Umbrella Girl" contain the exploration and confidence of Chinese connotations and Chinese aesthetics, and "Laifu Hotel" is filled with the warmth of life and the restraint of realism. The rampage that shines through the back of the page in "Under the Stranger" is the creator's courage and confidence in wanting to be his own "Marvel" for the Chinese people. The wild imagination in the children's perspective in "Zhu Tong Lost His Super Powers in the Third Grade" is full of Sympathy and shouting for adults...their sincerity is gradually blurred in the criticism, and many of them smear or even distort the image of these creators. For Chinese movies that have averaged single digits per game, most movies and Creators are vulnerable.
What can build a bridge between audiences and theaters is communication. What can use communication to protect Chinese movies is media , whether it is self-media or traditional media, whether it is long articles or short videos, whether it is KOLs or scholars and experts - ability The greater the great, the greater the responsibility. The media is a key member of the industry community. In this crisis, consensus should be the only way to be powerful. If the market's taste and aesthetics continue to be simplified, not letting a hundred flowers bloom is the first step. The next step is There are no feature films, no crying-laughing tragedies, no horizontal-screen theaters, only short plays, only armpit-scratching jokes, only vertical screens that keep scrolling upward...
The media cannot forcefully manipulate the audience, but at least it has the energy to do so. Guide the audience to communicate with them the sincerity behind the creators’ brave innovations. Stop using mechanical and applied forms and methods to communicate "sincerity" to the audience. When "sincerity" is expressed in a stylized way, even if it reaches the audience, it will naturally be ignored. The larger the scale of communication, the more counterproductive it will be. Not only will the audience feel uncomfortable, If you feel unique, you will feel the same, and the sincerity of the creator is completely ignored, or even opposed because of your aversion to the form; stop using those empty and boring official expressions that seem to be academically packaged but completely impersonal. It often fails to reach the audience, and at the same time it becomes a kind of weather vane - the more it is touted in this way, the more it shows that it is actively deviating from the audience.
media is the spokesperson of the creator and the intimate person of the audience. Regain empathy in the face of responsibility, find a common way out of difficulties, and rebuild an ecology of prosperity and prosperity. We have grown together from the prosperity of the last decade. We can also change the environment and protect each other from the current difficulties. .
We have to figure out what kind of Chinese movies we are looking forward to.
