Domestic films should break through the shackles of IP and traffic stars

In the first six months of this year, the total box office of the mainland film market in China was 27.173 billion yuan, a year-on-year increase of 9.88%. There were 10 films with box office exceeding 1 billion yuan alone, more than the total of 9 films in 2016. Most of the audience's money was donated to imported films. In the total box office, domestic films accounted for only 38.5%. Among the 10 films with a box office exceeding 1 billion yuan, only 3 were domestic films.

In the China film market, IP (copyrighted content) and traffic stars occupy an overwhelming position, but the storyline and acting lines have been pushed aside, exposing the immaturity of China's film industry. However, some films with niche themes and high-quality themes have been well received on the Internet and triggered spontaneous dissemination by audiences, indicating that making money is no longer the norm in China films. China audiences know how to appreciate good films and are willing to pay for sincere films.

The semi-annual report of the film market was released a few days ago, and the results were mixed.

Fortunately, the audience's enthusiasm for the movie remains undiminished. In the first six months of this year, the total box office of the mainland film market in China was 27.173 billion yuan, a year-on-year increase of 9.88%. There were 10 films with box office exceeding 1 billion yuan alone, more than the total of 9 films in 2016. The worry is that most of the audience's money is donated to imported films. In the total box office, domestic films accounted for only 38.5%. Among the 10 films with a box office exceeding 1 billion yuan, only 3 were domestic films. Halfway through 2017, there has not been a domestic film that can arouse social topics. This makes people have to ask, what's wrong with domestic movies?

In the past few years, China's film market has shown its favor for IP (copyrighted content) and traffic stars, which is not wrong in itself. IP and stars are scarce resources wherever they are, and they are the targets of capital pursuit. Hollywood is also filming "Transformers" and "Speed and Passion" one after another, spending a lot of money to invite stars to join. However, in the China film market, IP and stars occupy an overwhelming position, but the storyline and acting lines are pushed aside, exposing the immaturity of China film industry.

Hollywood has a complete screenwriter, special effects, and publicity team. It can shoot a movie with a weak storyline that sells stars and IP through the passing line, making the audience feel that it is worth the ticket price. For example,"Speed and Furious 8" has a simple storyline, but the actors perform well and the visual effects are amazing, allowing the audience to feel the visual enjoyment that can only be enjoyed in the cinema.

However, some domestic blockbusters mistakenly believe that it is enough to have two major factors: IP and stars. The story cannot be told properly, the special effects are "50 cents", and the performance is very embarrassing... which makes some "blockbusters" feel awkward. This kind of film can only attract Xiaosheng Xiaohua fans and IP fans, and has exhausted their purchasing power. It is difficult to attract more ordinary audiences into the cinema.

Therefore, blindly accusing China audiences of liking IP and stars is to ignore the essence of the problem. The real problem with China films is that they rely too much on IP and stars, and there is no mature mechanism to control the production process, thus relaxing the requirements for film quality. In the past few years, low-cut films could have high box office because the audience still had confidence in filmmakers and believed that famous directors, stars, and "big productions" were synonymous with good films. Nowadays, there are more tricks and the audience is learning better. The reason why Douban is popular is because audiences are used to going to the film to check the actual film reviews before watching it, rather than blindly listening to the recommendations of film production promoters and self-media marketing accounts. Under this habit of watching movies, the lifeline of movies is returning to the quality of the film and reputation itself.

There is also a special phenomenon this year. Some films with niche themes but high-quality films have been well received on the Internet and triggered spontaneous dissemination by audiences. For example,"My Poems" recorded by migrant workers poets,"Loyalty and Love Without Words", which tells the true story of people and dogs, and "Gang Rinbo Qi", which reflects Tibetan culture. Among them,"Gang Rinbo Qi" won 80 million yuan. box office. Facts have proved that making money is no longer the norm in China films. China audiences know how to appreciate good films and are willing to pay for their sincere work. Last year's "Operation Mekong" and "July and Ansheng", and this year's "Like You" and "Gang Rinboqi" have all shown the market appeal of domestic best films.

Unfortunately, some film investors and producers have not yet realized this. It may also be due to the film production cycle that they had no time to adjust their previous production plans and had to sell out "semi-finished products." However, newly established films and films that are still being filmed must learn lessons and sum up experience. 2017 is the "Year of Promoting the Quality of China Films." Filmmakers need to work harder to continue to improve the quality of domestic films.

Editor: Xiongwei