Li Guoqi: China films are striding into the world's film power

Over the past five years, China's film market has grown rapidly, and major industrial indicators have achieved major breakthroughs: in 2012, China's film box office reached 17.073 billion yuan, and the number of people watching movies in cities reached 470 million, ranking second in the world; In 2016, these two indicators reached 49.283 billion yuan and 1.372 billion people, an increase of 188.66% and 194.42% respectively over 2012.

Original title: Welcoming the 19th National Congress| China Films: Striving into the "Strong Forest" of World Films

On June 18, in the five years since the China Film Industry Summit Forum was held during the 20th Shanghai International Film Festival

, China's film market has grown rapidly and major industrial indicators have achieved major breakthroughs: in 2012, China's film box office reached 17.073 billion yuan, and the number of urban moviegoers reached 470 million, ranking second in the world; In 2016, these two indicators reached 49.283 billion yuan and 1.372 billion visitors, an increase of 188.66% and 194.42% respectively from 2012.

The cumulative box office exceeded 5.5 billion yuan, ranking first in the world's "single market moviegoers" with 150 million moviegoers. This is the craze set by "Wolf Warrior 2"; setting a new record of over 100 million yuan at the box office of the record film, providing 22 The surviving victims of "comfort women" left precious images, which is the temperature brought by "22"; It lasted for a year,"kneeling all the way and shooting all the way" on the plateau at an altitude of more than 4000 meters, which is the sincerity of the art film "Gang Rinbo Qi"...

In the view of Li Guoqi, deputy director of the Film Bureau of the State Administration of Press, Publication, Radio, Film and Television, this is a vivid portrayal of China films from big to strong, and a distinctive footnote that China films are in a golden opportunity period. "Since the 18th National Congress of the Communist Party of China, under the guidance of the great concept of the China Dream, China film industry is striding into the forefront of world film."

Strong industry: It has "weight" and "value

" Since the 18th National Congress of the Communist Party of China, films have ushered in a golden period of development opportunities. "These five years have been five years of good and rapid development of China's films." Li Guoqi's confidence stems from real figures.

Over the past five years, China's film market has grown rapidly, and major industrial indicators have achieved major breakthroughs: in 2012, China's film box office reached 17.073 billion yuan, and the number of people watching movies in cities reached 470 million. The box office ranked second in the world after North America, and the gap with the North American box office has narrowed year by year; In 2016, these two indicators reached 49.283 billion yuan and 1.372 billion visitors, an increase of 188.66% and 194.42% respectively over 2012. Another important figure is that the number of movie screens in my country reached 44489 in March 2017, surpassing the entire North America region and becoming the country with the largest number of movie screens in the world. It is expected to exceed 50,000 by the end of this year.

At the same time, China's film industrialization system, such as film shooting bases, post-production, Internet ticketing and publicity and marketing, as well as the research and development of film technologies such as China's giant screens and laser projection, are all at the forefront of the world.

"In the past five years, China films have truly become an indispensable cultural feast in people's lives and a leading industry in the cultural industry." According to Liu Hanwen, director of the Film Research Institute of the Development Research Center of the State Administration, there are several cases that can better illustrate the "gold content" of China films.

In 2015, full coverage of digital cinemas in county-level cities was achieved. In 2016, 50,000 projection teams of 245 rural digital cinema theaters basically covered all administrative villages across the country, and watching movies is no longer "exclusive" to cities; in 2016, paid users of video websites reached 75 million, a considerable proportion of which came from movie viewing. The online copyright sales of some movies exceeded 10 million US dollars. The "ceiling" of the film industry relying on box office revenue is being broken; The film "national team" represented by China Film Group Corporation and Shanghai Film (Group) Co., Ltd. has officially entered the capital market. Leading companies such as Wanda have developed into world-class "players." There is more and more room for China films to display their skills...

Creation is booming: If multiple varieties and types are

blooming, the film will prosper, and if the quality is strong, the industry will be strong. "There are more and more good movies, and the stories are being told better and better" gave Li Guoqi another confidence beyond the numbers.

Since 2012,"China Partner","Wolf Totem","Founding the Party","Taking Tiger Mountain with Wisdom","Operation Mekong River","Hundred Regiments","Demon Hunting" and "Mermaid", including this year's release of "Wolf War 2" and "The Great Cause of Building the Army". A large number of excellent films that promote the main theme, spread positive energy, and embody the Chinese spirit and excellent Chinese culture have won the favor of the audience and achieved a double harvest of "two benefits"; Art films such as "Fireworks in the Day" and "Hundreds of Birds Arrive at the Phoenix", and animated films such as "Journey to the West: The Return of the Great Sage" and "Big Fish Begonia" demonstrate the inexhaustible innovative vitality of China films.

These works reflect the improvement and progress of China's film creation from different angles, and also reflect the formation of a "diversified, multi-variety, and multi-type" creative pattern of China's films.

"Not only are there beautiful numbers, but also poetic creations." Rao Shuguang, secretary-general of the China Film Association, believes that whether it is the rise of new mainstream blockbusters such as "Operation Mekong" and "Wolf Warrior 2", or the popularity of niche films such as "Gang Rinbo Qi" and "22", it shows that China's film structure is more optimized and its development is more sustainable.

"Through supply-side reforms and structural adjustments to meet the differentiated and diversified consumer needs of the people, China films have established a closer and positive interactive relationship with China audiences." Rao Shuguang said.

Excellent structure: Top-level designs frequently make "big moves".

"No industry can maintain long-term rapid growth. The slowdown in growth is a manifestation of the film industry's return to rational development. China's films are shifting from quantitative and large-scale development to quality and intensive development." Rao Shuguang's views have become the industry consensus.

"In 2016, the global film growth rate was less than 3%, with Chinese films accounting for 65% of the increase; in the first eight months of this year, the growth of movie box office and movie-goers reached nearly 20% and 18% respectively. Maintaining such a growth rate highlights the development vitality and potential of China's film industry." The numbers shared by Li Guoqi break the argument of "inflection point theory".

China films are still in a period of development and rise, but the film authorities have always maintained a rational and clear understanding.

Li Guoqi introduced that in order to focus on solving the problem of "quantity and quality, and 'plateau' and 'peak'", the State Administration of China has paid close attention to the" bull nose "of quality and adopted key topic selection planning, policy and financial support, and allocation of high-quality resources in top-level design. Various methods such as assistance in publicity and promotion; at the beginning of this year, 2017 was clearly designated as the" Year of Film Quality Promotion ", closely focusing on the theme of the Chinese Dream and promoting the creation of key works. To this end, Nie Chenxi, deputy director of the Propaganda Department of the CPC Central Committee and director of the State Administration of Press, Publication, Radio, Film and Television, proposed a "five-style working method", and Zhang Hongsen, deputy director of the State Administration, proposed a working idea of "focusing on quality on the editing stage, counting down the schedule, and conducting publicity throughout the media."

In order to solve the problem of low professional level of China films, film companies are encouraged to cooperate with overseas films at the policy level, encourage the integration of filmmakers in Hong Kong and Taiwan in a more inclusive manner, and achieve the integrated development of Chinese films; cooperate with Hollywood to train China directors, screenwriters and producers to learn from Hollywood's advanced experience; establish the National Art Theater Screening Alliance, and are also planning to deepen the reform of urban theaters and on-demand theater management.

Focus on solving industrial bottlenecks and actively support the development of private film companies and Internet films through measures such as streamlining administration and delegating power, simplifying approval, regulation and supervision; focus on talent issues and make great efforts to cultivate new forces in Chinese films through holding forums and training; focus on China's film "going global" work, promoting the overseas layout of the film industry by establishing international film festivals, building overseas distribution platforms, and promoting Chinese brands...

Over the past five years, Chinese films have gradually formed a relatively mature development model with Chinese characteristics from all aspects of creative pattern, industrial layout, and institutional design.

Strong strength: The leading products "go global" and "stand firm"

In 2016, the overseas sales revenue of China films was 3.8257 billion yuan, a year-on-year increase of 38.09%, achieving rapid growth for four consecutive years. What is valuable is that while the flagship products "go global", they also "stand firm". Wei Jingyi, the overseas publisher of "Wolf Warrior 2" and vice president of Chinese Pictures, has a deep understanding of this.

Wei Jingyi told reporters that "Wolf Warrior 2" not only set a new box office record for China films in traditional overseas distribution markets such as Australia and Singapore, but also successfully expanded to areas that were difficult to reach in previous releases such as the Netherlands and Austria. "Many European and American publishers have taken the initiative to come to their door, and dozens of countries are being discussed in the second round of sales!"

"Wolf Warrior 2" has gained such great influence overseas, and it is inseparable from the distribution platform of "China Films, Co-Show in Putian". At the beginning of 2016, at the initiative of the Film Bureau of the State Administration of China, Chinese Pictures executed the first global release film "Journey to the West: Monkey King Three Beats the Bone", which was launched in 89 mainstream theaters in 57 cities in 9 countries in Asia, Europe, North America and Oceania.

Over the past year, with the help of the "China Films, Putian Films" platform, films such as "Lu Yao Know Ma Li","Love Saint","Bomb Removal Expert","Extraordinary Mission" and "The Legend of Wukong" have successively entered the overseas mainstream film market, gaining high box office, and winning a good reputation.

As an important carrier of external communication and an important symbol of the country's cultural soft power, China films are drawing more stories of China power and China style from the fiery life, and confidently conveying China culture and China spirit to the world.

Editor: Xiongwei