Rao Shuguang: Chinese Film "New Infrastructure" and the high -quality development of the movie

Author: Rao Shuguang President of the Chinese Film Review Society

[Editor's note] In 2021, while the Chinese film industry and market are gradually recovering, structural contradictions and problems are becoming more prominent. How can we effectively solve these contradictions and problems? How can Chinese movies develop high -quality? How to ensure that it is steady on the road from the "big country" to the "strong country"? Rao Shuguang, president of the Chinese Film Review Society, thought in depth, and wrote the Wanxiong Wenwen published in the Journal of the School of Literature of Nanjing Normal University. On the occasion of the popularity of this summer, "Film and Television Vane" reproduced this wonderful article to readers.

2021 is the 100th anniversary of the founding of the Communist Party of China and the beginning of the "14th Five -Year Plan". In order to promote China's film industry and industry to a new level, the National Film Bureau issued the "Fourteenth Five -Year Plan" China Film Development Plan (hereinafter referred to as the "Plan") on November 9.

As the blueprint and responsibility letter of the development of Chinese film development during the "Fourteenth Five -Year Plan" period, the "Planning" further clarified the development goals of the development of Chinese film development in the next five years- "Looking forward to 2035, my country will build a film in China to build a film A strong country, high -quality development of Chinese films, and significant production capacity of film creation. It highlights the masterpieces of Chinese spirit, Chinese value, Chinese strength, and Chinese aesthetics. The service system is more complete, and the cultivation of a group of world -renowned film artists, the right to speak and influence in the world film pattern of Chinese films has increased significantly. "

The establishment of this goal not only pointed out the development direction of Chinese films, but also boosted the confidence of improving the quality and efficiency of Chinese films, and upgrading.

It must be acknowledged that the fruitful results achieved by Chinese film development during the "Twelfth Five -Year Plan" to the "Thirteenth Five -Year Plan" period have laid a solid foundation for the establishment of the development goal of "Planning". But in the face of the goal of "Planning", we cannot be blind and confident. After all, entering the "Fourteenth Five -Year Plan", the problems and challenges faced by Chinese films are becoming increasingly complicated, changing, and twists.

On the one hand, as pointed out in the "Plan", "the" Plateau '"lack of" peaks "and other movies such as unbalanced development and inadequate problems still exist." On the other hand, the outbreak of the epidemic is exacerbating the original Chinese film industry and industry. On the basis of structural problems, a series of new problems have been triggered.

Therefore, we must maintain a cautious attitude to comprehensively, in -depth, and detailed the performance and market performance of the entire Chinese film. How to achieve high -quality development can ensure that Chinese films are stable and far from the road of "big country" to "strong country".

New changes in the Chinese film market in the "post -epidemic situation" era

According to the data released by the National Film Bureau, the total box office of China in 2021 reached 47.258 billion yuan, of which the domestic film box office was 39.927 billion yuan, accounting for 84.49%of the total box office; 6667, the total number of screens reached 82,248. The total box office and the total number of screens throughout the year continue to maintain the world's first.

It must be acknowledged that in 2021, the production capacity and income of Chinese film have not yet returned to the same period in 2019, but in the context of the global film market, the epidemic situation and the "departure" of votes are repeated, it can be said that Chinese films have still achieved good goodness. The achievements, "the scenery is unique", shows the huge endogenous motivation and development space.

However, in the era of "post -epidemic", while seeing the film industry and the market gradually warmed up, we should also understand the structural problems hidden behind these data. In fact, although the development of Chinese films in 2021, the polarization of the market has further intensified.

Data show that in 2021, the total box office of the Chinese Film Spring Festival and National Day stalls has exceeded 1/4 of the total box office revenue of the year. Correspondingly, there is nearly 1/5 of the year, and the single -day box office of the broader market is less than 40 million. Obviously, the "schedule dependency" of the Chinese film market is more serious than before.

It is undeniable that the influx to important schedule is the choice made by many filmmakers and project parties to avoid market risks. However, the concentration of excessive content to the important schedule will inevitably bring new hidden dangers to the film market.

On the one hand, the regional recurrence of the epidemic makes the film market cannot guarantee a stable box office income. Taking the summer season as an example, the data shows that the total box office revenue of the 2021 summer file was 7.381 billion yuan, compared with 17.778 billion in 2019, a full decrease of 10 billion yuan.

During the schedule, only "Chinese Doctor", "1921", "Revolutionary", "Angry · Relief Case", "White Snake 2: Green Snake Raiders" and other few films have more than 100 million box office. The reason is that in addition to the insufficient content of the schedule itself, it is largely due to the impact of the epidemic factors.

After all, the films such as "Changjin Lake" and "Sniper" are due to the repeated epidemic that they choose to withdraw files and adjust the files, which will cause vacancy in the contents of the August file.

On the other hand, the excessive concentration of content to the schedule has also led to the lack of content supply in non -stall periods, and the market is seriously low. According to statistics, a total of 458 films were released in 2021 and 766 films were recorded. In 2019, this data is 552 and 3225.

The insufficient supply of content in the year, coupled with the excessive concentration of the schedule, led to the box office revenue of the Chinese film market in March, April, and June in 2021 a year -on -year historic box office of nearly five years. As more and more films have poured into important schedules, the vicious competition between the film has intensified, and the living space of many films has also begun to be severely squeezed.

As we all know, the total box office of the 7 films released in the Spring Festival in 2021 set an amazing record of 7.842 billion yuan. However, the total box office revenue of the two films of "Donald Street Detective 3" and "Hello, Li Huanying" exceeded 5.56 billion yuan, occupying most of the market share. The total box office of the remaining five films is less than one -third of the two.

Among them, there are many investment costs such as "Assassination of Novelist" as high as 600 million yuan, and the three "first" 7 -headed movies with Chinese film visual effects technology. It is worth mentioning that although the film rely on the accumulated market reputation, it eventually got a box office of 1.04 billion yuan outside the schedule, but this was actually far from the ideal of the producer.

It is expected that if the film is put into a relatively ease or non -schedule, its final box office income will reach a new height.

Coincidentally, similar phenomena also appeared. According to statistics, in 2021, the National Day file has a total of "Changjin Lake", "My and My Father", "Five Water Boys", "Pipiru and Cansi of Luxi", "Big Ear Tu Dragon Dragon "" Eagle Grab Chicken "," Save the Glose: Rescue of Time and Space "," Exploring the Princess Cat Mermaid "and other 8 films entered the game.

However, in the influence of multiple factors such as the atmosphere of the schedule and the investment input, about 90 % of the market share of the National Day file is controlled by the two films of "Changjin Lake" and "My Father and My Father". Low -row rates, and the embarrassment of effectively transforming word of mouth. From the perspective of many people in the industry, the "28 Laws" of the previous period of competition have quietly become the "Nine Laws".

It is true that, unlike the "big blockbuster" stalls such as the Spring Festival, the content of the National Day in 2021 Except for the main theme of "Changjin Lake" and "My Father and My Father", most of the remaining are investment. Low -cost small and medium -cost movies.

However, as we all know, small and medium -cost movies, as the foundation of the entire film, are an indispensable "tower foundation" for the film ecology. If this foundation is not solid, the entire film ecosystem may produce a "collapse effect".

As Wu Baoan said: "Small and medium -cost movies are tower bases of Chinese movies, the basic and important links in a healthy and mature film industry, an important indicator of the health of the film industry, and a key factor in determining the development of the industry development. ","

In the context of excessive concentration of the content of the schedule, it is difficult for small and medium -cost movies to obtain sufficient market space during the schedule, but also difficult to release sufficient box office potential energy in the non -file period driven by the lack of commercial blockbusters.

Data show that the average single -piece box office of the key period in 2021 reached 260 million, but the non -schedule was only 30.848 million. This further weakens the profitability of small and medium -cost movies, which will affect its overall quality and output.

The more serious problem is that due to the huge investment of head movies, the theme choice is often conservative. In this context, if the output of small and medium -cost movies declines, it will inevitably lead to the homogeneity of the market.

Therefore, in -depth optimization of the release and screening mechanism of Chinese film distribution, promote the balanced development of the schedule content, develop more market space for small and medium -cost movies to ensure its sustainable development. solved problem.

In fact, the film and the box office concentrate on the important schedule, which may also affect the audience's movie habits. As we all know, the relationship between movies and audiences, "determine all issues such as the pattern, scale, speed of industrial development" -Only enhance the willingness and motivation of the audience to go to the theater to watch the movie, and let it develop the habit of regularly went to the theater to watch the movie. In order to ensure the healthy and healthy development of the film industry.

As mentioned earlier, the total number of screens in my country has exceeded the 80,000 mark in 2021. It is undeniable that the achievement of this stage of results provides a larger room and space for Chinese film screening, especially providing a basic guarantee for the construction of a differentiated film market system. But at the same time, we should also think carefully about a key issue, whether the current number of screens is matched with the growth of movie viewers?

Needless to say, the Chinese film industry can no longer rely on the continuous expansion of theater and the number of screens to drive the growth of screenings and the total box office.

It can be seen that as early as 2019, due to the structural imbalance between the number of theater and the number of movie viewers, more than 60 % of theaters have been in a state of incompetent. By 2021, this structural imbalance not only did not improve, but further intensified -the number of urban movie viewers decreased by 563 million compared with 1.73 billion in 2019.

In addition to the epidemic and other factors, the reason why the audience will fall into a cliff -like decline is also caused by the polarization of the market.

Specifically, head films are concentrated in important schedules. This trend has made head movies a "special supply" to a certain extent, instead of lacking enough high -quality content for audiences to choose. Over time, the audience can not help but gradually develop the habit of watching movies in important schedules, and then restrict the growth of movie viewers. Of course, the high fare of the theater is also an important reason for the growth of movie viewers. Taking the Spring Festival file as an example, although the Spring Festival in 2021 broke the previous box office record, it is worth noting that the attendance rate of the Spring Festival theater in 2021 has not reached the same period in 2019, but the fare is higher than the average in 2019 in 2019, which is higher than the average in 2019. 4.2 yuan.

This means that the box office record of the Spring Festival in 2021 is largely driven by the increase in fares.

It is undeniable that the rising fares of theater are determined by many factors, including the cinema rents, management fees, property costs, depreciation, operating costs, and even the platform. However, we must know that today's flooding forms of entertainment, audiences can have multiple choices, such as mobile games, short videos, etc., and the cost of their required expenses may be much lower than the theater fare.

Therefore, the rise in fares will not help but affect the number of movie viewers and the seat rate. As a result, a new question is led to how to keep the fare stable, while strengthening the current audience's willingness to watch the movie, and let the audience develop the habit of watching regularly to watch movie movie movie movie cinema?

Chinese film "New Infrastructure" and high -quality development of movies

In fact, the occurrence and exposure of many structural issues in the Chinese film industry and market in 2021 is mainly due to the "phantom" of China's film industry and market development for a long time or depending on data, which leads to the lack of effective integration of various factors between the industry. , Connect and matching, resources are over -diluted, and failed to form a joint force.

A few years ago, when the average annual growth rate of the Chinese film market was still as high as 20%, the author proposed that it is necessary to reduce the development speed of Chinese films and improve the development of Chinese films. Because this "can make Chinese filmmakers soberly think more about the problems brought by the development of high -speed Chinese films. -Many deep -level problems have begun to be exposed and prominent, but they are covered by high -speed growth and beautiful numbers. The so -called 'Yijun cover hundreds of ugliness' ".

However, this appeal did not seem to pay attention at the time. It was not until the development speed of Chinese films suddenly slowed down and the sudden "cold current" made more and more people start to worry about the problems and shortcomings exposed by long -term high -speed development.

But as mentioned earlier, the problems and contradictions faced by Chinese films are complex, varied, and twisted. When the industry starts with the old problem, the new contradictions have actually arisen.

In this context, if you want to promote Chinese film to continue to develop towards the established goals, the only way is to provide value leadership and path support for Chinese films "new infrastructure" through methodology rooted in the local context.

Different from the purpose of promoting the number of theaters and screens in the past, "new infrastructure" is a multi -level, systematic project, involving institutional mechanisms, producer proportion, high -level market systems, etc., and even with the entire entire with the entire entire. Multiple -level elements associated with the construction of the film industry chain structure are to promote the collaboration and sharing between these elements, in order to optimize the allocation of resources, give birth to a more efficient industrial ecology, and escort the high -quality development of the film industry.

According to the above demands, the author believes that the inherent path of "community aesthetics" is an effective methodology to guide Chinese films "new infrastructure".

As we all know, "Community Aesthetics" is deeply influenced by traditional Chinese culture. "It builds a long -term 'harmonious' tradition", which determines the value core of community aesthetics, that is, the spirit of "harmony as expensive".

Therefore, in the face of the subject and object of mutual differences and contradictions, the common physical aesthetic advocates not confront each other, but to establish common interests through the "other thinking" based on "my thinking" based on "my thinking". Outlook, the overall view of interests and long -term interests, strive to achieve harmony through cooperation and maximize common demands and interests.

This value core is undoubtedly an effective way to promote the integration, connection and collaboration of various industrial elements that are currently decentralized and contradictory.

Specifically, first, film creators and distribution agencies must establish a community with the audience. As we all know, the relationship between the relationship between the film and the audience is not only the core issue of film aesthetics, but also the fundamental issue of the development of the film industry. As Mr. Zhong Mi said: "The problem of the movie and the audience ... is undoubted And thinking, even associated with flesh. "

In the concepts of many creators and distribution agencies in the past, big data is an effective way to anchor audience watching preferences and interests. However, it is because of the blind dependence on big data that a large number of film creation has tended to a specific type in recent years, and it has continued to flow to some important periods.

It is undeniable that big data is an effective means to help enterprises reduce investment risks, but blindly believes that consumer portraits presented by big data will inevitably deviate from the real situation and interest of the audience.

In fact, the current film audience has changed dramatically compared with the past. The first is changes in age. Many film industry data reports have always declared that the average age of Chinese film audiences is 21.7 years, and now this situation has changed.

At the opening forum of the Golden Rooster Film Festival in 2021, Wang Zhonglei, CEO of Huayi Brothers, pointed out that "the average age of theater audience is 28-29 years old, tending to be aging." This means that except for the audience groups outside the 85th and 90s, the motivation to watch the movie has gradually weakened or has not yet been established. The second is the change of attention mode. Needless to say, the essence of the film industry is a kind of attention. Only by allowing the video content to adapt to the audience's attention can the audience be given the motivation to continue watching movie viewing.

At present, with the rise of electronic devices and media forms such as 5G technology, Weibo, short video, etc., the audience's attention mode has quietly concentrated from being able to "focus on something lasting, ignore external stimuli, and prefer a single information flow. The deepening attention of long -term attention to the monotonous of the single focus has endurance, and it has transformed into a super attention of "prefer diversified information flow, find highly irritating things, and tolerance for monotonous state".

The third is the change of the motivation to watch. In the Chinese film market in 2021, there are two phenomena worth focusing on. One is to be given high expectations by the industry. ", The box office" encounter cold "; the second is," Love in the Year of the Year "," We Want to Be together "," Come with you for a long time ", etc. Small and medium -cost movies released by special dates have gained high market attention and box office revenue.

These market phenomena show that in addition to the quality of the film, word of mouth and marketing, external factors such as social attributes and rituals will also have a significant impact on the audience's motivation to watch the movie.

In response to the most effective way to change the above, it is undoubtedly to build effective dialogue channels and dialogue spaces to create effective dialogue channels and dialogue spaces in the group of film creators, distribution agencies, and their own target audience groups. Sound, and then formed a benign interaction with the audience and reached a contract, and eventually established a community aesthetics.

Second, the upper and lower reaches of the film industry must establish a community. As mentioned earlier, the Chinese film industry has achieved a phased goal of 80,000 screens in 2021, but the number of film production and filing has fallen sharply, and the upstream and downstream of the film industry are in a serious imbalance.

As we all know, as an industry -oriented industry, the number of screens must be based on the premise of the sustainability of high -quality content. Therefore, in order to maintain a good ecology of the film industry, we must follow the basic logic and laws of the modern film industry, further increase and strengthen the production and supply of high -quality content, and appropriately tilted to the producer on the proportion of the accounting and the division mode. In order to ensure that it can obtain cash flow into content production as soon as possible.

It is undeniable that changes in interest distribution plans will touch the interest structure formed by the industry in the film industry, which may cause new contradictions. However, the current production capacity of the film industry has declined sharply under the influence of the epidemic and many other uncertain factors, which is an indisputable fact.

In the long run, it will undoubtedly bring unbearable consequences to the development of the film industry. Therefore, the upper and lower reaches of the film industry must establish a community of interests.

Third, commercial blockbusters and small and medium -cost movies must establish a community. Needless to say, a healthy development film market requires business blockbusters and small and medium -cost movies to join hands to meet the current audience's thirst for diverse content. The achievement of the 80,000 screen phase goal has paved the coordinated and differentiated development of commercial blockbusters and small and medium -cost movies. The sinking of the cinema, on -demand theater, and the art cinema have been included in the category of market construction.

The problem is that the "Matthew effect" of the current film market is becoming more and more serious, and commercial blockbusters are constantly influxing to important schedule, resulting in severe squeezing the living space of small and medium -cost movies.

It is undeniable that commercial blockbusters have played an important role in seizing the market share of the domestic film market and spreading to the outside world. However, small and medium -cost movies, as the "tower" of the movie ecology, are not only the "main battlefield" of young creators, but also the "test fields" of type and technological innovation. Only by strengthening the support and guarantee of small and medium -cost film creation can we continuously transport productivity and creativity to commercial blockbusters, and "cultivate the thickness of the box office soil of Chinese film audiences."

Therefore, the development of Chinese film needs to further balance the market structure and industrial focus of commercial blockbusters and small and medium -cost films to avoid "grasping the big and small". Especially on the issue of the schedule, the coordinated development of commercial blockbusters and small and medium -cost movies should be further promoted, so as to develop more market space for small and medium -cost movies and form a role of "promoting small small".

In fact, in the current market context, the distribution of commercial blockbusters from important stalls is more likely to drive a significant increase in box office revenue.

On the one hand, as mentioned earlier, although the overall box office revenue of the important period can remain at a high level, it is difficult for the audience to increase significantly. After all, the audience's viewing habits and motivations have not been effectively enhanced.

On the other hand, we can see that the box office of the important period in 2021 is 17.638 billion yuan, accounting for 37%of the total box office, and the non -scheduled box office income is less than 30 billion yuan, accounting for 63%of the total box office. In 2019, the box office of the important period was 15.09 billion yuan, accounting for 23.54%of the total box office, and the non -scheduled box office revenue was 48.2 billion yuan, accounting for 76.46%of the total box office. This means that the gap between the box office income of 18 billion in 2019 and 2019 is basically from the non -schedule. Therefore, promoting the balanced development of the schedule content can not only further reduce the intense level of content competition during the schedule, but also continue to stimulate the audience's enthusiasm for movie viewing through the continuous release of commercial blockbusters, and then form the market "catfish effect" to ensure that to ensure that The healthy development of film ecology.

Fourth, traditional film industry must establish a community with streaming media platforms. In the era of the "post -epidemic situation", different countries around the world are still struggling with the "window" sorting problem of theaters and networks. After a series of storms caused by "Mom" and "theater to the Internet", the "first window" status of the theater has not been shaken. This provides a guarantee for the expansion of the number of screens.

However, it is important to emphasize that the deep integration of theater and the network is the general trend. It can be seen that in 2021, the proportion of users willing to pay for online movies continued to rise, reaching 44.7%, accounting for more than TV hot dramas and popular variety shows; at the same time, iQiyi, Tencent Video and other streaming media platforms It is also actively preparing to cooperate with Ning Hao, Rao Xiaozhi, Lu Yang and Zhou Xingchi's online self -made film cooperation.

Therefore, while maintaining the original "window" status, the traditional film industry should further consider how to conduct in -depth integration with the streaming platform to obtain more market increasing.

Fifth, the domestic market and international communication must establish a community. The expansion of the international communication and influence of Chinese films has always been the meaning of the construction of film power. At present, the concept of "constructing a community of human destiny" with Chinese wisdom is stirring in the world. As the film industry of my country's cultural undertakings, on the basis of deeply imposing the local market and continuously improving the spirit of film creation, cultural connotation and artistic value, it should be established to establish a community of human destiny community, tolerance and appeal to the human destiny community Values, through the "community" narrative, tell the world about Chinese stories, preach Chinese culture, and convey Chinese value to the world. Therefore, the acceptance of the acceptance of different audiences from the region, culture and political background can be separated to achieve effective and efficient communication. In addition, it is necessary to further strengthen international distribution, screening and marketing channels through various forms such as cooperation, investment, mergers and acquisitions.

Sixth, the film industry, scientific and educational institutions and government departments must establish a community. Entering the "Fourteenth Five -Year Plan", in order to achieve a higher level of upgrading in Chinese films, first of all, we need to grasp the fundamental plan of "talent". After all, with the rapid development of Chinese films, the formats, forms and status of the film are becoming increasingly complicated, and the demand for talents has also increased day by day.

It is worth noting that this kind of demand is not limited to the well -known traditional work of director, photography, recording, actors, arts, etc., but further expands to producers, legal consultants, and special effects director (Special Effects Supervisor), The business management, composite, and scientific and technological talents such as Post-PRoduction Supervisor and Visual Effects Creative Director. This puts forward higher requirements for the cultivation of film talents.

Secondly, it is necessary to promote the overall Chinese film from the box office economy to the copyright economy. As we all know, Chinese films have been used as the main momentum of industrial development with box office revenue for a long time, but in the era of "postpartum epidemic", the limitations and risks of this development model have been completely exposed. The only way to deal with this limitations and risks is to promote the establishment of a large film industry with the copyright economy as the core to further extend the industry chain and expand the scope of profitability. As Henry Jenkins said: "All the designs of the modern entertainment industry structure are around a simple concept -the construction and enhancement of copyright."

It is undeniable that many film companies in China have tried to "radiate" to TV dramas, online movies and other content forms, but they are basically in its infancy and failed to form an industry consensus. The reason is mainly due to the weak copyright awareness of Volkswagen and enterprises and the lack of relevant legal and policies, which leads to non -standardized markets such as "car cars" and speculation, and the legitimate rights and development space of market entities cannot be effectively guaranteed.

In this context, the film industry will undoubtedly establish a community with scientific and educational institutions under the leadership of government departments to strengthen the synergy effect and deepen the degree of integration.

On the one hand, while striving to improve the awareness of the public and corporate copyrights, further explores targeted and innovative teaching and research models, promotes the transformation and application of teaching and scientific research results, and improves the quality and quantity of talents. Assist government departments to deepen the research, formulation and implementation of policies and regulations, so that government departments can provide solid institutional guarantees for the high -quality development of the Chinese film industry with a more efficient and accurate top -level design.

Construction

There is no doubt that the inherent path of community aesthetics is an effective way to solve the structural disease of Chinese film and achieve high -quality development. Although this theory is not proposed for a long time, and the connotation needs to be further improved and expanded, it is a theoretical paradigm that is rooted in the context of China, emphasizing practicality, inheritance, and integrity. At the time of the problems and contradictions, most of the targetedness and effectiveness that most Western film theories have. This actually gives an important inspiration of Chinese film development, that is, to accelerate the construction of film theory criticism and discourse system, make it a think tank and think tank for the development of Chinese film, and contribute to the continuous wisdom and strength of the high -quality development of Chinese films.

As we all know, as an exotic product, although it cannot be separated from the influence of the criticism of the world's film and world film theory, it has been embedded in the development of its development and theoretical characteristics since its entering China. Therefore, as early as the 1930s, Mr. Wang Chenwu keenly pointed out: "Only by establishing a Chinese film concept and film criticism standards can we be more specific and promote Chinese film." To this day, the Chinese Film Theory criticize the discipline system and discourse system has not been effectively established.

When talking about the criticism of Chinese film theory, it is necessary to mention an important period -the 1980s. The academic community agrees that this is the most active and most fruitful period of Chinese film theory.

At that time, the field of Chinese film creation and theoretical criticism that had experienced ten years of catastrophe, under the influence of "cultural fever", began to "draw on various types of film theory and experience in the West, hoping to use the" Western Xue East "way The theoretical system promotes the diversified creative practice of film themes, styles and styles, and breaks the art and creation restricted area set by the extremely "left" trend. "

The formation of this trend has gradually shown a benign interactive situation of close fit, harmonious symbiosis, and mutual promotion. It must be acknowledged that the introduction of Western film theory during this period has played an important role in "activating" Chinese film creation and comments, but under the benign interaction pattern of film creation and theoretical criticism, it is not a creator or a critic, none He insisted on the simple handling of Western theories, but was intended to explore the issue of Chinese film ethnicization.

For example, in 1979, Zhang Nuanxin and Li Tuo were known as the "Modernization of the Fourth -Generation Director Art Declaration", which was known as the "Fourth -generation Director Art Declaration": "Learning from the world to study in the world must be solved correctly. That's how nationalization is. "And emphasized:" Some comrades always oppose the problem of studying the art of film art and the nationalization of the movie to emphasize the nationalization to oppose the advanced art techniques from abroad. We think this kind The view is too myopia. "

It can be said that in the early 1980s, the introduction of western film theory was more "tool" by the field of film creation and theoretical criticism. Behind it was to build theoretical discourse and creation with Chinese characteristics. Hope of style films.

It is in the context of the above, in 1984, the film theorist Mr. Zhong Mizhi proposed the theory of "based on the northwest, pioneering a new type of 'Western Film'" theory. In his opinion, Chinese films cannot apply the Hollywood and Europe models. "Even if China has not been called the 'Chinese model' today, it will never stop our efforts in this regard."

Movie theorist Mr. Zhong Mi

Under the theoretical guidance of "Western Films", the successive emergence of famous overseas films such as "Wild Mountain", "Old Well", "Qiuju", and "Yellow River" have made an indelible contribution to the promotion of Chinese films to the world.

However, in the mid -to -late 1980s, with the market -oriented transformation of the film industry, as well as structuralist symbolics, psychoanalysis, ideology, feminism and other Western modern film theories, the theory of film theory was not only due to the lack of criticism of criticism. In the "decline" state, it also trapped the interpretation path set by Western modern film theories. "Chinese film theory almost annihilated a sense of problem based on local issues."

Since then, film theory criticism has begun to "part ways" with film creation. The break of this communication and dialogue mechanism has led to the problems generated by the game, capital, and technology in the development process of Chinese films in the development process that the problems generated by multiple forces such as policies, capital, and technology cannot be solved in a timely and effectively. Many contradictions and problems have been left to the present, and it has continued to intensify, which has seriously affected the development of Chinese films.

Therefore, in order to promote the high -quality development of Chinese films, the current criticism of Chinese film theory must be based on local language context, condense more forces, and strives to achieve "creative transformation" on the basis of sorting out and explaining Chinese film theory and historical materials; from In the practice of local culture and art, aesthetic spirit and industrial creation practice, the theoretical materials, resources and viewpoints are refined, realized "innovative development", and established a theoretical criticism system to rebuild the positive interaction between film theory criticism and film creation. Chinese films provide more creativity and wisdom to play the positive role of film think tanks.

It should be pointed out that advocating the construction of the Chinese film's own theoretical system does not mean rejection of Western film theory. As Mr. Zhong Mi said, it is absolutely stupid to close the door to "getting a canned movie". "

However, we need to realize that Western film theory is rooted in the special context of the West. Although it can intervene in film creation production in a specific way, it inevitably exists in cultural particularity and historical limitations. The complexity, arduousness, twists and turns, and variability of Chinese film development are obviously not that Western film theory can accurately summarize, understand, interpret, and even guide. Therefore, we also need a vision that transcends Western film theory. Based on the development experience of Chinese films, we selectively learn from Western film theory and innovative transformation, so as to create a discipline system and discourse system that integrates Chinese and foreign film theories and realizes the discipline system and realizes the discussion system. Interoperability with the spirit of the world movie.

In fact, the significance of the construction of the discipline system, academic system, and discourse system for the construction of Chinese characteristics think tanks and film theory is not only in condensing more wisdom, but also the contradictions or problems that may occur or exist in the current development of the Chinese film industry and market development. Contributing to different levels of solutions at different levels is also to establish an authoritative, credible and influential film evaluation system to ensure the public opinion pattern of the healthy and healthy Chinese film.

As we all know, with the popularization of Internet information communication technology, online film reviews have risen rapidly, and the original film criticism ecology has been overturned in all directions.

It is undeniable that compared with traditional film criticism, online film criticism is more flexible, interactive, and autonomous in length, style and communication forms, but it is also because of these media characteristics that many films often fall into "emotional vent" In the predicament of "malicious abuse" or even "capital control", dwarf and damage the value of the film and the courage of the creator.

Therefore, the Chinese film theory and critics must rely on their own theoretical criticism of the discipline system, academic system, and discourse system to build a "political, artistic, social reflection, and market recognition of the unified film work evaluation mechanism to create positive and healthy movies Public opinion environment, promote the effective interaction of creation and comment. "

As a result, different criticism, criticism, criticism and criticism methods are effectively converted into the thrust and kinetic energy of high -quality development of Chinese films. In this way, we can ensure that Chinese films are stable and far from the road of "big country" to "powerful country".

(Originally selected from the Journal of the School of Literature of Nanjing Normal University, No. 1, 2022, the original title "From the Great Power to the Powerful Power -Chinese Film High -quality Development Thinking")

★ Introduction to the author

Rao Shuguang: The current president of the Chinese Film Review Society, researcher, doctoral supervisor. The former deputy director of the China Film Archives (Deputy Director of the China Film Art Research Center); former Secretary -General of the Chinese Filmists Association and former director of the China Federation of Film Arts Center.

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