How Chinese films are modernizing and transforming

Chinese movies have made some progress, but structural contradictions have not been resolved. Over-entertainment, over-commercialization and over-industrialization have led to the replacement of imaginative and creative artistic creation by "production by means of distribution", and to a certain extent the loss of humanistic connotation and cultural commitment, which has inevitably lowered the artistic quality and quality of domestic films, and lowered the acceptance and reputation of domestic films, as we all know. In the first half of 2013, Chinese movies further achieved new breakthroughs on the basis of high-speed development: the market share of domestic movies exceeded 62%, the highest record in the same period in recent years. At the same time, among the 28 films with box office exceeding 100 million yuan in the first half of the year, domestically produced films occupied 16 seats. On the whole, Chinese movies are in the midst of benign progress and development, at least at the market level, and a multi-genre, multi-variety and diversified pattern is gradually taking shape. Undoubtedly, the prosperity of the market and the substantial growth of box office and moviegoers are signs of the great success and achievements of China's comprehensive industrialization reform. However, some deep-rooted structures and contradictions, deep-rooted concepts and evaluation systems and standards of Chinese films have not yet been effectively solved; the contradiction between the difficulties of institutional reform and the development of the market, the contradiction between production rights and the proliferation of piracy, the contradiction between imported and domestic films competing for the market, the contradiction between the traditional mode of film production and the network distribution, the contradiction between theaters and cinemas, and the contradiction between film distributors and directors, The contradictions between theaters and cinemas, between film producers and directors, between film producers and screenwriters, and so on, are highlighted from time to time, and a certain kind of "chaotic situation" has appeared. On the one hand, a considerable number of filmmakers are unilaterally, blindly and excessively pursuing high box office and commercial profits against the backdrop of a hot domestic movie market, and it's by no means a misnomer to use "profit-seeking era" to describe the current state of Chinese movies. Over-entertainment, over-commercialization and over-industrialization have led to the replacement of imaginative and creative artistic creation by "production by means of distribution", and to a certain extent, the loss of humanistic connotation and cultural commitment, which has inevitably lowered the artistic quality and quality of domestic films, and lowered the recognition and reputation of domestic films. On the other hand, a considerable number of filmmakers lack a clear understanding of the persistent threat brought by Hollywood movies to Chinese movies, especially to the Chinese movie market, and lack rational reflection on the multiple "short boards" that exist in Chinese movies at the industrial and industrial levels compared with Hollywood movies. Some of them even blindly immersed in the market level of the temporary "advantage" over Hollywood movies, irrationally predicted that in a few years China will surpass Hollywood to become the world's largest film market. But in fact, China's film industry is still in the primary stage of film industrialization, many basic film industry mechanisms, film industry mechanisms have not been fully established, industry norms, industry norms have not been effectively formed and followed by everyone, the market effect, especially the social effect has not been given full play. If we fail to comprehensively, objectively and scientifically analyze and understand the deep-rooted contradictions in China's film industry, the development of China's films and China's film industry may encounter bottlenecks or even chaos and crisis. Hollywood not only sells movie products, but also sells the standard of movie products, and its trend of spectacle, gamification, and electronization y affects China's young audience groups. In order to gain a position in the competition, Chinese films have to rely on the differentiation strategy, but also have to create their own characteristics of the film "concept" Hollywood with a strong film industry, the rapid development of high-tech advantages, strong capital strength and perfect capital operation system, has greatly increased the threshold of modern film production. Economically and technologically backward countries may have movie art, and even works of high artistic quality can win awards in international film festivals, but it is difficult to form an independent and perfect movie industry system, movie industry system, and its national movie can not effectively and sustainably support its own movie market. More importantly, Hollywood is not only selling movie products, but also selling the standard of movie products. In China, a considerable number of young viewers consciously or unconsciously use American movies as a reference point, or even simply use American movies as a standard to look at Chinese movies and the Chinese movie industry. From the changes in American movies in recent years, we can find that movies represented by Iron Man, Transformers, etc. are becoming more and more spectatorized, gamified and electronic. Although this kind of spectralization, gamification, and electronicization reduces the narrative index and humanistic expression of American films, if we look at it from the perspective of communication science alone, the discount of its communication influence is getting smaller and smaller, and the space for communication is getting bigger and bigger. Marx expressed the relationship between man and society in this way, "Just as society itself produces man as man, man also produces society." Some of the recent high box office Chinese movies are also due to the fact that young audience groups are increasingly becoming the main consumers of the Chinese movie market, and their tastes and their choices undoubtedly influence and constrain Chinese movies in turn. In the face of such a reality, we must improve the professional standards and criteria of domestic films in all aspects to satisfy the requirements of young audiences for audio-visual and film consumption, and to maximize our efforts to win over future audiences. In my opinion, Hollywood movies are increasingly neglecting the storytelling, characterization, and humanistic level of excavation and expression, and their neglected level is exactly the space and opportunity for domestic movies to grow. As a matter of fact, Chinese films in the competition with Hollywood films, mainly rely on the differentiation route, with Hollywood's large industrial specifications, high-tech level is not the same "concept" of life, youth films, with "grounded" strategy, in the local market to form their own relative advantage. The local market has formed its own relative advantage. Differentiation is undoubtedly an effective strategy, but I am afraid that relying entirely on this strategy is not a long-term solution, nor can it become a strategy. We must create a movie "concept" with our own characteristics, and at the same time embody cultural creativity, injecting deep cultural heritage, rich humanistic expression, and unique aesthetic temperament and spirit. In short, in order to truly compete with Hollywood, Chinese films must achieve a comprehensive and profound modernization transformation, and must make new developments and breakthroughs in the creative system, industrial specifications, industrial standards and scale. The market competition between Chinese movies and Hollywood movies will be a long-term economic and cultural war, and if you can't win the economic war, you can't win the cultural war. In the face of a more open domestic movie market, we must save for a rainy day and make all kinds of corresponding preparations, otherwise we will fall into a long passive. This is not an unfounded worry, nor is it alarmist talk. The "small workshop" production model, unreasonable profit distribution, homogenized competition and unnecessary internal conflict have slowed down the development of Chinese films. In order to realize the modernization and transformation of Chinese films, it is necessary to promote the construction of modern film production system, modern film dissemination system and modern film evaluation system. In order to realize a comprehensive and profound modernization and transformation of Chinese films, it is necessary to promote the construction of modern film production system, modern film dissemination system and modern film evaluation system. As far as the film production system is concerned, although Chinese films are "not bad for money" and produce a large number of films every year, the level of internationalization, high-tech and especially specialization is not satisfactory. In terms of the main body of production, it is necessary to get rid of the "small workshop" mode of production as soon as possible, and form an enterprise group that has the power of speech and control of the industry standard, as well as cross-border influence and dissemination power. Under the background of marketization, industrialization, internationalization and high-tech, Chinese films should learn from the advanced experience and business model of the international film industry represented by Hollywood, such as the "producer-centered system", the "completion guarantee system" and the "film guarantee system". system", "film completion guarantee system", film "equity **** enjoyment" financing model, etc., prompting Chinese films to gradually get rid of the "workshop" mode of operation, towards modernized large-scale production, thus promoting the expansion of scale, structural optimization, and achieving quality-oriented, In the United States, the producer's share is 53%. In the U.S., the producer's share is 53%, while in the current domestic share ratio, the producer's share is only 43%, with profits tilted towards theaters and cinemas, showing a "lopsided" phenomenon, which seriously restricts the enthusiasm of film producers and is not in line with the basic rules of modern film production. Distributors and theaters can expand their profit margins and channels through the construction of a modern film distribution system, rather than simply relying on the split system to squeeze the profit margins of the producers, thus providing more understanding and support for the content manufacturing of Chinese films, and ultimately forming a new situation of benign interaction and ****same development. Unlike the domestic market, which mainly relies on box office profits, in Hollywood, box office only accounts for 20% to 25% of the overall income, with the rest of the income coming from different kinds of copyrights and derivatives. In order to innovate profit models and improve the film industry chain, Chinese films must promote the construction of the film distribution system, which focuses on the home entertainment market, the network mobile broadcasting market, and the development of the licensing business in the field of derivatives. With the increasing number of movies and the white-hot competition, the establishment of a scientific and orderly coordination mechanism for movie scheduling and the promotion of the construction of characteristic and differentiated theaters have become the most urgent task for China's movie distribution. Due to the lack of a scientific and orderly coordination mechanism for movie scheduling, the unnecessary "internal conflict" of Chinese movies is deplorable, and the phenomenon of homogenized competition is serious. And due to the lack of specialization and differentiation of the cinema, a large number of small and medium-sized cost movies with characteristics, thoughts and feelings are not accepted by the audience at a larger level, and do not receive more attention and coverage from the media, which inevitably results in the misinterpretation, miscalculation, and misjudgment of Chinese films by the whole society. Bad reputation "achievement" of a movie's high box office is entangling and heartbreaking, and makes the whole society question the social responsibility of filmmakers and the moral bottom line of movies as a kind of cultural product. For the evaluation of a movie, some people start from the angle of orientation, some people start from the angle of the market, some people from the technical quality considerations, some people from the angle of social entertainment measurement, it should be said that it is also normal. It is imperative to establish a film evaluation system and standards that are compatible with the industrialization and globalization of the film industry, to establish a scientific evaluation system and standards for different types of films, to make reasonable, appropriate and persuasive analyses and interpretations of different types and varieties of films, and to avoid as much as possible any misinterpretation, misappraisal or even misjudgment. The modern movie production system is inseparable from the modern movie dissemination system and the modern movie evaluation system. In other words, the construction of the three systems is interdependent, driven by each other, constrained by each other, and intertwined. Only by comprehensively promoting the construction of modern film production system, modern film dissemination system and modern film evaluation system can Chinese films effectively achieve modernization and transformation, upgrade the industry as a whole, and form a modern film and modern film industry system in the true sense of the word, as well as become truly bigger and stronger. (Rao Shuguang)