In 2021, China will become the world's No. 1 movie market with a box office of $7.3 billion.
However, in recent years, China has not won as many international awards as Japan and South Korea at international film festivals.
On March 28, the State Film Administration's "14th Five-Year Plan for the Development of Chinese Films" set the goal of becoming a film powerhouse by 2035, to enhance the international influence of Chinese films and make Chinese films go global.
"Hong Kong 01" interviewed Professor Ye Yueyu, Dean of the Faculty of Letters of Lingnan University and an expert in East Asian Film Studies, who analyzed that the problem of Chinese film internationalization lies in the single creation environment of Chinese films. Only by making a "author's film" can you truly "go out".
This is the first in a series of topics.
Chinese films have a high level and become famous internationally, and there must be a diverse film environment.
Professor Ye Yueyu believes that the Chinese film industry has undergone earth-shaking changes. With the rapid development of new media in the Mainland and the marketization of Chinese films, China has become an Asian film power.
And because of the "Mainland and Hong Kong Closer Economic Partnership Arrangement" (CEPA), it is convenient for Hong Kong films and filmmakers to enter the mainland market. Hong Kong filmmakers are actively making films in the mainland, bringing technology and talents to the mainland.
She said that the mainland gradually learned how to make blockbusters. From the need for Hong Kong funds, marketing, and technology, the mainland film industry has now fully matured, and she can make blockbusters by herself. Nowadays, it is no longer necessary to rely on external forces and Hong Kong to make blockbusters. Movie.
Professor Ye Yueyu.
(Lingnan University official website)
Ye Yueyu also mentioned that mainland films are mature, and film education and production are at a certain level. In recent years, there have been many blockbuster films in mainland China that have achieved excellent box office results, such as the 2021 Chinese box office champion "Changjin Lake" and the 2020 box office champion "Changjin Lake". Eight Hundred" and many other theme movies.
Among them, "Changjin Lake", directed by Chen Kaige, Tsui Hark and Lin Chaoxian, is a gift film to celebrate the 100th anniversary of the founding of the Communist Party of China.
According to the official mainland media "China Youth Daily", Zhang Yimou, a "fifth-generation director", is also happy with the success of "Changjin Lake". He pointed out that 10 or 20 years ago, Chinese audiences flocked to Hollywood blockbusters and became obsessed with American pop movies. The age of culture is long gone.
He said that young people like to watch "Changjin Lake" because it is a Chinese film that embodies the Chinese spirit.
Young people like these movies instead of watching Hollywood hero movies, which is a big change in the Chinese movie market in recent years.
Regarding how Chinese films have achieved good international results, Ye Yueyu believes that a film with a big historical narrative like "Changjin Lake" can completely compete for the Oscar. The film has a certain level of production and packaging.
However, the main theme movies in the Mainland usually have a very clear "black and white" narrative structure, and the characters are good and evil.
In "Changjin Lake", China represents good, the United States represents evil, and the design of the story structure is relatively simple, which leads the Oscar jury to think that the ending of the story is too easy to guess.
Therefore, it is difficult for mainland commercial or art films to enter the international stage and market.
"Changjin Lake" box office 5.775 billion.
("Changjin Lake" stills)
Theme movies may not be suitable or necessary to go international
Across the Taiwan Strait and the three places, many filmmakers and film fans hope that Chinese films can enter the Oscars. Among them, director Ang Lee, who has won two Academy Awards, was the chairman of the Golden Horse Executive Committee, and his achievements are even more impressive than many Chinese filmmakers. Target.
Ye Yueyu believes that China does not need to use international awards such as the Oscars as indicators.
She believes that the Oscar tradition focuses on American liberalism, such as films that promote the brilliance of human nature and focus on vulnerable groups, which is very different from Chinese films that focus on socialism.
The 2019 South Korean film and Oscar-winning film "High Parasite" is about a homeless family who uses deception to get into the upper class.
She pointed out that although it is an affirmation that Chinese films can be nominated for the Oscars, the current development of Chinese films is a relatively simple film environment, and it is difficult to have many films discussing the subject of disadvantaged groups in the mainland in terms of the conservative film policy of the mainland. Due to the diverse creative environment in countries such as Japan and South Korea, it is difficult for China to challenge or compete for international awards.
Visiting professor of the School of Film of HKBU, winner of the Golden Horse Award, and Hong Kong New Wave director Tan Jiaming, once interviewed in the film information website "Motion Zone" and said that the director's pursuit of internationalization and entering Hollywood may not be a good thing.
Hollywood has a meticulous division of labor and a perfect operating system, so the director may not fully grasp the creation.
If a director goes to Hollywood, the director's creativity will be wasted, and the director who stays in the local area may achieve greater achievements and more profound works.
He pointed out that the production conditions of Hollywood are very good, but the cost does not determine the quality of the work.
South Korean director Bong Joon-ho's films are all produced in South Korea, and the Korean film "High Parasite" won the Oscar for Best Picture is an example of how good works and good achievements can be made by staying in the local development.
Bong Joon-ho's "High Parasite" became the first non-English language Oscar for best film in history.
(Getty Images)
In terms of mainland film development policy, Ye Yueyu believes that the mainland government's film policy is mainly internal rather than external, and that films are promoted as culture, not as business.
The government's film policy is the core of Chinese film and the "locomotive" of Chinese film development. Mainland film companies, film investors and filmmakers must put film policy first.
She mentioned that movies are "commodities on the shelves", and the investment is huge. If the subject matter does not comply with the policy, it is unlikely to be released as desired.
Therefore, the top movies in the mainland box office are mainly theme movies, and sometimes movies of different themes will also add patriotic themes, such as "Operation Red Sea", "The Wandering Earth", "Captain China" and other movies.
The main theme sings praises to China, which can cater to patriotic audiences, make the film more popular, and get more opportunities for the cinema to arrange the film. The authorities and the media may also widely publicize the film because of the patriotic theme of the film, so as to educate and unite the people to love the country and the party.
Patriotic themes are thus a favorable factor for mainland film distribution.
Ye Yueyu said that some mainland movies are not designed to cater to foreign audiences at all, and it will take time and a lot of effort for audiences outside China to accept Chinese movies.
In his interview with China Youth Daily, Zhang Yimou also mentioned that Chinese film creators cannot only make movies with the theme of "Let you go to class". Only when the movies are good can they output values, tell stories, and entertain.
He said that movie creators must understand that good and interesting movies will stay and spread, and boring content will die on its own. The creator will not achieve the goal.
In addition, Ye Yueyu said that Chinese films have their own domestic demand, but they don't really need foreign markets.
The Chinese film market can completely use the "domestic demand" thinking method to produce and distribute films.
Some theme films are not necessarily suitable for going international, nor do they necessarily need to go international.
Ye Yueyu said that mainland films depend on the opinion of the State Film Bureau. If the film does not conform to the political atmosphere at the time, the Film Bureau may not allow the film to be shown.
For example, in the context of domestic political changes, tensions between China and the United States, and cross-strait relations, films involving Chinese history, Taiwan-related and foreign-related topics may be subject to the sensitive political atmosphere at the time, or due to "technical reasons" and other uncontrollable factors. delayed screening due to factors.
Ye Yueyu said that for filmmakers and investors, the risks are unpredictable, making it difficult for Chinese films to flourish, and foreign film talents choose to develop in Europe and the United States because of the uncertainty.
Therefore, even if China is the world's largest film market, if there is no "diverse" film creation environment, it will be difficult to attract international film talents, and it will be even more difficult for Chinese films to dominate the world.
Zhang Yimou's film "One Second" did not participate in the 56th Golden Horse Awards.
(Weibo @ one second)
Zhang Yimou's film "One Second" was canceled for "technical reasons" at the opening ceremony of the 69th Berlin International Film Festival and the 33rd Chinese Film Golden Rooster Awards. The content of the film is about the description of the history of the Cultural Revolution.
Zhang Yimou is the chief director of the "Double Olympics" who directed the opening and closing ceremonies of the Beijing Summer Olympics and Winter Olympics. He is also the chief director of the G20 Hangzhou Summit theatrical performance "Most Memories of Hangzhou" and China's 70th Anniversary Gala. He is highly trusted by the authorities. Many large-scale cultural and artistic activities in many countries are known as "national teachers".
It can be seen that the State Film Bureau is very strict with the censorship of film subjects, and even the "national teacher" has to obey.
As Ye Yueyu said, the movie is a commodity on the shelves, Zhang Yimou's "One Second" waited for a year before it was released, and it passed a good opportunity to promote it internationally.
She said that the film has three cores, namely main creation, post-production and publicity and distribution.
Among them, publicity and distribution are very important for film popularity and sales.
Promotional and distribution fees, by Hollywood blockbuster standards, can often make up half of a film's budget.
Therefore, the censorship policy of mainland films is not conducive to Chinese films going out.
To enhance the international influence of films and realize the goal of becoming a film powerhouse, China must have a diverse environment that is conducive to the development of creativity and filmmakers.
Professor Ye Yueyu, Ph.D., School of Film and Television, University of Southern California, Dean of the School of Letters, Lingnan University and Chair Professor of Visual Studies , in-depth research on Chinese film and Asian film industry.
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