Observation of the evolution of China's film industry in the era of "multimedia + new technology"

At present, my country's economic development has entered a new normal, and cultural development has ushered in a new trend ("Four New"). To accurately grasp the profound changes in the connotation of the strategic opportunity period and more effectively respond to various risks and challenges, we must think about transformation and reform. China's film management issues and find innovative film management methods that suit the times and national conditions.

At present, my country's economic development has entered a new normal, and cultural development has ushered in a new trend ("Four New"). To accurately grasp the profound changes in the connotation of the strategic opportunity period and more effectively respond to various risks and challenges, we must think about transformation and reform. China's film management issues and find innovative film management methods that suit the times and national conditions.

Cross-border integration highlights

the rise of soft power film culture. It is related to the healthy development of the country's macro economy and the improvement of China's soft power and the international influence of Chinese culture in a global perspective. It is the main means for the country to inherit national culture, publicize mainstream values, and disseminate and exchange foreign culture. It is also an important channel for foreign trade.

Neil Ferguson, a representative figure of the Anglo-American Cultural Prediction School, once mentioned in the book Civilization: "The world is facing an inflection point in the economic fortunes of the East and the West, and nearly 500 years of history will face a watershed here." This description is an important background for the fierce competition among civilizations and cultures of countries and regions around the world.

With globalization and technological change, today's "movies" have entered an era of global competition, an era of multimedia competition, and an era of relying on big data,"Internet +", VR technology and various emerging information technologies to inherit human civilization and convey different values.

Today's "movies" are in a historical time and space intertwined by industrial economy, information economy and cultural economy. They have transcended the traditional film/screen media form and integrated into TV, Internet, computer, audio-visual, games, publishing, mobile media, etc. In the broad big media industry composed of, cross-border integration has generated broad derivative value.

Comprehensive level rising channel

China is now the fastest growing and most attractive film market in the world, and has become the main engine for the development of the global film market. According to statistics, in the first half of 2016, the box office revenue of China films was 24.6 billion yuan, and the number of movie-goers exceeded 720 million. It has successfully surpassed the 670 million movie-goers in North America and provided a new "North American ticket warehouse." According to the "China Film Industry Index (2016 Edition)" research report: Judging from the International Film Industry Comprehensive Index from 2005 to 2015, the comprehensive level of China's film industry is generally on an upward channel; in the ranking of the International Film Industry Comprehensive Index, China ranked fifth in 2015, which was the same as in 2014. Research and analysis also shows that China will become a world film power in 2020.

At present, the changes in production structure led by supply-side structural reforms are strongly promoting the development of the film culture industry. From the perspective of income, supply-side structural reforms will trigger a redistribution of the economic cake. For example, cost reduction and de-capacity will lead to an increase in the proportion of corporate operating earnings, accelerate the transfer of labor across regions and departments, and increase human capital, and will lead to an increase in worker remuneration. As a result, consumers will have more power to dominate consumption, and the effective supply driven by supply-side structural reforms will also provide stronger impetus to optimize the structure of the film industry, thereby promoting innovation in China's film system and mechanism, and promoting China's transformation from quantity to quality, from production to smart production, from product to brand, and from local to global."

Scale effect highlights

According to relevant data, by 2020, the development scale of China's film industry will be: the box office of urban movie theaters across the country will be more than 110 billion yuan, driving the total output value to more than 1.1 trillion yuan, driving the GDP growth of more than 330 billion yuan, providing more than 6.6 million jobs, and paying about 88 billion yuan in taxes. Among them, the average annual growth rate of movie-goers is more than 20%. The annual number of movie-goers nationwide reaches approximately 3.2 billion, and the annual per capita number of movie-goers nationwide reaches approximately 2.3; the global box office of China's film market exceeds that of the United States, reaching about 30%. At least one of the top ten single films at the global box office is a China domestic film or co-production film.

By 2025, the development scale of China's film industry should be: the box office of urban movie theaters across the country should be more than 175 billion yuan, driving the total output value to more than 1.75 trillion yuan, driving a GDP growth of more than 525 billion yuan, providing more than 10.5 million jobs, and paying about 140 billion yuan in taxes. Among the single films that strive to rank in the top ten global box office, at least 2 are China domestic films or co-productions.

Talents and think tanks are important intellectual support for the sustainable development of a "movie power". By 2020, when the Beijing Film Academy celebrates its 70th anniversary, the school will be built into a high-level world-class film academy and ranks among the top of its kind in the world.

The

"China Film Industry Index" research report pointed out that there are still some "shortcomings" in China's move towards a "film power", mainly reflected in the following: industrial benefits are not high enough and the international competitiveness of the industry urgently needs to be improved. Due to the short history of China's film industrialization reform and insufficient policy guidance, at present, the film industry regulations are not sound. Special film laws such as the "Film Industry Promotion Law" have not yet been promulgated, and the film regulations are not systematic. There is a lack of industry norms, no industry standards, and they are independent of each other. The industrial concentration is not high enough. Compared with the six major Hollywood film companies, the company's scale is small and its competitiveness is weak; the single-screen box office and the number of single-screen moviegoers are low, and there is much room for improvement in industrial efficiency; There are few films with leading roles, and no film genre with Oriental aesthetics and China style has been formed.

Innovation is the key to supply-side structural reform. New situations such as globalization and "Internet +" have brought profound impacts and innovation opportunities to the development of China films-reshaping the development trend of the film industry and changing the development pattern of the film industry., innovating product content, and innovating consumption methods; at the same time, it has also had a profound impact on film development and market operation (Innovation in international competition and competition promotion mechanisms; cross-border and cross-media have given rise to the vitality of project research and development); especially the new trend of "sharing, interaction, flow, and intelligence" has changed the form and experience of current and future film production, operation, consumption, and derivative.

Film managers are in a multi-dimensional, interconnected and integrated film development environment. On the one hand, they must follow the goal orientation, clarify development ideas with a diverse, three-dimensional and open vision, not forget their original aspirations, and open up paths; on the other hand, they must adopt Problem-oriented, use systematic analysis methods-do a good job in top-level design as a whole, focus on mutual connections locally, solve existing problems based on collaborative innovation mechanisms, and achieve scientific, coordinated and sustainable development of the industry.

Editor: yvette