Does the movie still need to comment?The answer may be in this forum in Beijing Film Festival

Author: Hu Jianli

In this era of new Internet media, do movies still need comments? What important role can film comments play in the process of doing the film industry and building a strong country in my country?

On the afternoon of August 18th, the 12th Beijing International Film Festival "Film Strong Country Forum -Innovation and Improvement of Film Reviews in New Era" was held in Beijing. In his speech, the keynote speeches of domestic film theoretical review authorities such as Hu Zhifeng, Yin Hong, Wang Yichuan, Chen Xuguang, and Liu Hongtao, Yin Xiangjin, Liu Chun, Li Ning, Yu Baimei, Zhang Bo, Chen Jie, Zhang Wei, Zhao Wei, Tan Flying, Wu Yanyu and other film creation, comments, and big talks in the media, directly or indirectly answered the above questions.

A film festival, although the award is important, the field of the film industry and the excellent filmmakers in various industrial chains are equally important for communication, ideological collision and view of views. At this forum on August 18th, many film theory review authorities, the person in charge of the film company, and the editor -in -chief of the film review media gathered together to let the film theory and practice dialogue, film reviews and production exchanges, focusing on and analyzing the film power of the film. Building paths, how to create a domestic "series of movies" brand, film review expansion and innovation, etc., have played a positive interaction on promoting film reviews and creation, and promoting the sustainable development of the Chinese film industry in the Chinese film industry.

Movies need professional reviews, this forum is just right

As a film critic from a media person, the author has participated in many film review forums and seminars in the past two years. There is a deep feeling: in the Internet era, there are almost no thresholds for movie reviews. Everyone is a film critic. You can comment on movies online. The convenience, timely, and interaction of film reviews are far better than in the past. The number of film reviews is thousands of times of the traditional media era. Its role in the creation, distribution and box office of movies is increasing. However, although there are no lack of professionalism on the Internet, the horizontal levels are uneven, the sediment is uneven, and the overall quality is not high. A large number of film reviews that are amazing in order to earn traffic interests, or pretending to be an amazing language, or emotional vent. These so -called film reviews not only lack professionalism, but also have a lot of preferences, either to kill a movie or a stick, or to blow a film on the sky. Comments on domestic business types are particularly harsh, and the scores are often low. I can't help but make many film creators and film entrepreneurs feel aggrieved and doubtful, making many viewers feel at a loss: Do movies still need to comment?

The answer is yes. The more in the era of the Internet, the more the more the new media context, the more important nodes in the construction of the film power. The healthy and sustainable development of the film requires such professional film reviews. At the 40th anniversary of the establishment of the China Film Review Society held on January 24 last year, more than 20 well -known scholars and experts in Chinese film critics and editors of the Chinese Film Critics have expressed their opinions around the theme of "Professional Film Review in the New Media era" , Rao Shuguang, president of the Chinese Film Review Society, said at the meeting that film comments must adapt to the changes in the Internet era. It must be faced with practice, the audience, the screen, the world, the future, and the modernization. It is the bridge of the entire film ecology, linked to film creation and movie audiences.

Therefore, the new era and new media have put forward new requirements for film reviews. In this context, hosted by the Organizing Committee of the Beijing International Film Festival, the Chinese Film Review Society, the China Film Foundation Zhongzi Film Development Fund, Chongqing Film and Television City (Jiangjin Baisha), co -organized Forum -Innovation and improvement of film reviews in the new era "" Activities "at the time, providing an excellent communication platform for domestic authoritative movie theoretical review experts and excellent film creators and entrepreneurs. Innovation.

In order to make this forum more truthful, pragmatic, and targeted, the organizer Beijing International Film Festival Organizing Committee and the organizer of the China Film Review Society have repeatedly communicated on the theme of the forum, guest candidates, and the activity process. Finally, this forum became a grand event in contacting film reviews and creations, analyzing domestic "series of movies", and exploring the path of film power.

The industry's big coffee gathers together, and the keynote speech is full of dry goods

At this forum on the afternoon of August 18, the guests' speeches were wonderful and full of dry goods. Li Xiulei, a member of the party group and deputy editor -in -chief of Beijing Radio and Television, and deputy secretary -general of the 12th Beijing International Film Festival Organizing Committee, said in his speech that improving the right and influence of Chinese film in the world film pattern is the Beijing International Film Festival One of the important purpose. The foundation for building a film power is to strengthen and strengthen the film industry industry, innovate and expand the film theoretical criticism system with the construction of film power and goals. In his speech, the chairman Zhang Yimin highly affirmed the role of film reviews in the construction of film power and the development of Chinese film. He believed that "the construction of film power requires the support of film theory and criticism. "And analysis"; Zhao Weixuan, vice chairman of the Chinese Film Review Society, stated in his speech that film criticism is the end of film practice, connecting film marketing, creation, theoretical research and other links. Essence He puts forward more close connection with the film review construction in the current digitalization era and has a closer connection with the film industry system. In his speech, Sheng said that with the support of the China Film Foundation, the Chinese Film Review Society, and the Chongqing Film Bureau in December 2020, the Jiangjin District Government launched the establishment of the "Chinese Film Foundation Film Review Zhongzi Development Special Fund" for Chinese film comments have injected new vitality, participating in the forum can better play the role of the development of special funds for film reviews, and promote the academic spirit of Zhongzhi's film review and criticism. Hu Zhifeng, Yin Hong, Wang Yichuan, and Chen Xuguang, four Chinese film theoretical comments authorized experts, have clear views, rich content, and different angles. Hu Zhifeng, deputy secretary of the party committee and deputy dean of the Beijing Film Academy of Film, gave a topic of "Three Characteristics of Efforts to Improve China Film and Television Reviews". He believes that the construction of film and television comments in film and television in film and television is improved: first of all, the people's character. We must have the feelings of the people in their hearts, find emotional expressions that are empathy with the people, and write comments that the people can understand; followed by practical character. It must be reasonable, useful, and degree; the third is open character. Nourishing from excellent international film and television reviews, inspiration from other disciplines, learning from front -line film and television practitioners, and be vigilant.

Yin Hong, vice chairman of the Chinese Film Association and a professor at Tsinghua University, is the topic of "True Questions Research Research Real Questions Film Theory Critics to help the Sustainable Development of Chinese Films". He said that there was a film theory criticism from Chinese movies, and he was doing the practice of film creation. The criticism of Chinese film theory is exactly the vitality and effectiveness in the development practice of Chinese film. The reform and development of Chinese film criticisms have proposed new concepts. These concepts are very inspiring and prompting more problems to research. Among them, real problems worth studying are film power, film industry system, and community aesthetics. He believes why the film evaluation system is built, who will build, and to whom? If these three problems are not solved, we cannot find a unified standard. The starting point of producers, creators, audiences and commentators is different. Film theory comments "To face the industry and at the same time to surpass the industry, we must not drag my hair on the sky, I can only stand on the shoulders of creative practice, and think and develop."

Wang Yichuan, chairman of the Beijing Literature and Art Association and professor at Beijing Normal University, gave a speech on the "Current Chinese Image aesthetic Parapeit and Film Power Building Path". He said that creating a good movie worthy of the reputation of film power is the key to building a film power. He believes that there are six domestic films and video aesthetic paradigms that may become the main path to the Chinese film power: First, the national aesthetic paradigm, the justice of the national sovereignty based on the national consciousness, the display of the Chinese people's sovereignty, showing that the Chinese people are the masters of their own housekeeper as the master. Image models of the subjectivity and identity, such as "Action of Red Sea" and "Changjin Lake", etc.; The second is the family aesthetics paradigm, such as "Hello, Li Huanying", etc Image models of geopic power and geopolic passwords, such as "I am not a medicine god", etc. Fourth, the psychological aesthetic paradigm, especially paying attention to the unconsciousness of the special group, such as "You Youth", "My Sister", etc. Traditional aesthetic paradigms, based on the contemporary contemporary inheritance intention of Chinese art, such as "Return of the Great Saint"; Six are the aesthetic paradigm of public law and affection, such as the "Mistake Kill" series. He also put forward five suggestions such as Chinese -style expression that strengthened the common value of human beings.

Chen Xuguang, a professor at the School of Art of Peking University, is the topic of "The Industry Sudden, Brand Construction and Reflection of the" Series "of domestic" series "in the vision of film industry." He believes that the theoretical research and criticism of the "series of movies" is the most important topic of film industry aesthetics. In recent years, the domestic "series of movies" has flourished, becoming an important step in China from a large film to a film power. Whether the "series of movies" can be successfully operated is about whether Chinese movies can really enter the ranks of the country. To change the concept, don't despise this kind of movies. To open up their horizons, develop and tap Chinese cultural prototypes, and cultivate the soul of culture, "Why can't we have our own" Avengers "? dig". The filmmakers must adhere to the principles of respecting the audience and investors, and to afford the expectations of the audience. Only in this way, the production of China's "series of movies" can form a virtuous circle, and the film industry can continue to achieve sustainable development. Whether there is a branded "series" is one of the important criteria for film power. The keynote speeches of the four authoritative experts are both theoretical and practical temperatures. They are pragmatic, close to the people, close to the market, and have their own unique insights on the relationship between film theoretical reviews and creative practices, as well as the path of building a film power. As a film critic, the author has benefited a lot. Professor Chen Xuguang's speech on the construction and reflection of the domestic "series of movies" brand not only changed the inherent views of the theoretical critic's preference for literary and artistic films and did not pay attention to commercial types, but also prevented the next link of the forum.

True domestically produced movies, explore the path

In the conversation of this forum, the host and the executive vice chairman of the Chinese Film Review Society Zhang Wei, and a number of well -known film entrepreneurs, creators and media people, surrounding how to create a domestic "series of movies" brand, explore the construction film Discuss the topics such as the path of a strong country and other topics.

Zhang Wei

Liu Hongtao, chairman of Happy Twist Film and producer of "Lone Moon", said that Happy Twist has been creating its own brand. Comparison of Charlotte's troubles, we also tried to have innovation, hoping to surpass the past, but they paid 100%of the efforts when creating, but the results of each film were different. " In recent years, through the development of the "Tang Tan Series", Wanda proves that this is a particularly good creation of risks for the long -term survival of film companies. After forming a brand -oriented operation through a series of development, it will continue to bloom in many fields of movies, episodes, and anime, so that a brand will create greater benefits for the company; The production of film brand construction and the production of a series of films should establish a certain aesthetic paradigm. It is necessary to establish a series of aesthetic paradigms in the aspects of type, human settings, values, and content production, but also establish some paradigms in heavy industry production models and modern marketing models.

Liu Hongtao

Yin Xiangjin

Zhao Weixuan

Li Ning, CEO of Xinli Film, believes that many "series of movies" are successful because the brand can continue. In terms of business logic, investing in "series movies" is also a safer behavior at the capital level. For the creation of a series of movies, at present, there must be more self -confidence to create a stronger Chinese film. For example, "Water Gate Bridge of Changjin Lake" is a guarantee of the confidence of investors and film creators; the famous screenwriter and director Yu Baimei participated in " The creation of the two "series movies" of "My Hometown" "My Hometown", "My Father and My Father", he believes that "this is difficult to copy, very special series", the type characteristics are not obvious, combined with different types of types, which combines different types , But it has a very prominent feature: the audience knows what I will get to watch the "I and my series", because what I find together is the psychological and emotional foundation; "It is a new mainstream blockbuster in China. The affinity of "I and I series" cannot be compared with many foreign films.

Li Ning

Yu Baimei

Tan Fei

Liu Chun, general manager of China Film Cooperation Production Company, believes that the core of the construction of film power is talent. The exchanges between Chinese filmmakers and international peers have greatly improved the international expression. For example, the creative concept of Director Guo Fan borrowed the concept and technique of international outstanding peers. The dream of a strong country in Chinese film will definitely be realized, but it must break through the bottleneck of talents, especially the bottlenecks of international talents. He also believes that technical reasons such as translation, dubbing, and subtitle production have also affected Chinese movies to go abroad; Zhang Bo, senior vice president of Cat Eye Entertainment, recognized that an important manifestation of "series movies" is to see the number of people, "Tang Tan 1" Maoyan wants to watch The number of people is 100,000 levels. The "Tang Tan 3" cat's eye wants to see the number of people reaching 4 million, which is the highest in cat eye so far. The "series of movies" is very valuable to the film, but this is a double -edged sword, because the expectation value is relatively high, and the movie reputation is required to be very well maintained; Chen Jie, CEO of One -line Films, said that during the production process of the type of film The screenwriter and the star -like star are very important factors in the "series of movies". She hopes to express the power of Chinese women through science fiction -type films; Wu Yanyu, editor -in -chief of "Poison Eyes", believes that good movies and good movies and good movies Movie reviews are complementary and mutually achieved. "Good movies lead us to comment. Good reviews help good movies have been seen by more audiences." Liu Chun

Chen Jie

Wu Yanyu

Ten guests and host talks, from the advantages of their respective companies and platforms, each dimension and perspective, focus on the themes and express their opinions. It is a useful communication between film entrepreneurs, creators and film theory critics.

The successful holding of this forum has opened up a new perspective for the innovation and improvement of Chinese film reviews in the new era and expanded new space. The warm discussions on topics such as the construction of domestic "series of film" brand construction are not only to provide suggestions for how to make the film industry bigger and stronger for the film industry, but also for the establishment of a film power in my country in 2035. The high -quality forum that connects this theory is a highlight of this year's Beijing International Film Festival.

(The author is Secretary -General of the New Media Committee of the Chinese Literary and Art Critics Association and editor -in -chief of "Film and Television Vane")

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