The “Fourteenth Five-Year Plan for Chinese Film Development” issued by the National Film Administration anchors the goal of a cultural power, focuses on building a film power, and plans for the development of Chinese film from 2021 to 2025. The “14th Five-Year Plan for Chinese Film Development” puts forward that during the “14th Five-Year Plan” period, there will be regarding 50 domestically produced films with a box office of over 100 million yuan each year. Why did you propose this specific goal? What are the opportunities and challenges facing this goal, and what measures need to be taken? On these topics, the reporter interviewed Hu Zhifeng, deputy secretary of the Party Committee and vice president of the Beijing Film Academy who participated in drafting this plan.
Reporter: Why did the “Fourteenth Five-Year Plan for Chinese Film Development” put forward the specific goal of “each year at a box office of more than 100 million domestically produced films reaching regarding 50”?
Hu Zhifeng: This specific goal is the key guarantee for us to cultivate the largest film market in the world, and to realize our goal of becoming a film power nation from a major film country. In 2021, the total box office and total number of screens of Chinese films will continue to rank first in the world, but the number of high-level and high-quality domestic films still needs to increase. my country produces hundreds to thousands of feature films every year, but less than half of them can be screened in theaters; among the movies screened in theaters, they can have a relatively large influence, such as those with a box office of more than 100 million yuan, which is not enough. To change this situation, we cannot rely solely on “sprinkling sesame salt” support methods, nor can we rely solely on increasing the output of the film. If there are regarding 50 domestic films with a box office of more than 100 million yuan each year, it can effectively drive the improvement of the overall level of domestic films, just like we need to cultivate top talents in a field, because their appeal is greater than the influence of conventional talents. Much. Our goal is to become a movie powerhouse by 2035. To this end, we must set a benchmark, and the proportion of high-quality movies must be increased significantly, so as to promote greater industrial efficiency. One of the most intuitive market data for high-quality movies is the box office of over 100 million yuan, because such movies have a certain population coverage and can relatively verify the popularity of the movies.
Reporter: What are the favorable conditions for achieving this specific goal?
Hu Zhifeng: There are many favorable conditions. Our country has a large population and a huge film market. As long as the enthusiasm of all parties is mobilized, the realization of this goal is fully guaranteed.
The first is that since the outbreak of the epidemic, the entire country has been resolute in preventing and controlling the epidemic. Our overall film policy design has always been orderly. This is the most favorable factor.
The second is that in the past few decades, especially since the new era, the film industry has cultivated some mature core film companies. In addition to the old state-owned enterprises such as China Film and Shanghai Film, there have also been Bona, Huayi Brothers, Huace, Private enterprises such as Noon Sunshine have mature production experience and have formed strong film production, production and dissemination capabilities.
The third is that following years of market and industry polishing, a film production and production team combining old, middle and youth has formed, and a group of outstanding film artists are playing a big role.
The fourth is that in recent years, especially in recent years, more and more new mainstream blockbusters have become the leaders of domestic movies, which has strongly stimulated the film market, such as “Changjin Lake”, “Wolf Warriors 2”, “My Motherland and Me”. “The Wandering Earth” and so on.
The fifth is that our movie audiences love domestic movies very much. Many young people have become movie-goers, and a considerable number of middle-aged and elderly people have entered the theater.
Reporter: What challenges are still facing to achieve this specific goal?
Hu Zhifeng: First of all, we are still preventing and controlling the epidemic, and the number of viewing sessions and openness of theaters are still affected. For example, in accordance with the requirements of the “Guidelines for the Reopening of Movie Screening Sites to Prevent and Control Epidemics” (third edition), all theaters use real-name reservations online and contactless ticket sales; in principle, the attendance rate of each show shall not exceed 75%. In addition, film screening places reduce the number of screenings, extend the break time, and arrange different theaters at the wrong time to avoid crowds of spectators entering and leaving the venue. Statistics show that in 2021, the number of people watching movies in cities in my country is 1.167 billion, which is a decrease from the 1.73 billion in 2019.
Secondly, although Chinese films are generally improving and there are a large number of film and television institutions, they also need more institutions with strong film and television production capabilities such as Bona, Huayi Brothers, Huace, and Noon Sunshine, as well as a truly mature production team. More directors and producers with greater influence and market appeal. Therefore, we urgently need to practice our internal skills, cultivate mature market players with market adaptability, and create sufficient number and high-quality film works with a wide range of types.
The third is how to mobilize more audiences to watch movies. We have a population of 1.4 billion, but there is still room for improvement in the number of audiences who go to cinemas to buy tickets to watch movies relative to the total population of our country. Theater revenue is still the core revenue of movies. We should encourage viewers to enter the theater and use their actual viewing actions to cheer for Chinese movies.
Reporter: In order to achieve this specific goal, what measures do you think need to be taken?
Hu Zhifeng: To achieve this goal requires a multi-pronged approach.
The first is policy guarantee. In recent years, relevant departments have promulgated many policies and adopted many effective measures to actively promote the development of films. The Special Fund for Cultural Industry Development of the Ministry of Finance allocates a portion of the funds to directly subsidize key film and television projects every year. The “Law of the People’s Republic of China on the Promotion of the Film Industry”, officially implemented on March 1, 2017, is the first law in the field of my country’s cultural industry, which stimulates the vitality of the industry through policies. The “Opinions on Deepening the Comprehensive Reform of the Film and Television Industry and Promoting the Healthy Development of my country’s Film and Television Industry”, adopted in May 2019, pointed out the direction for advancing the reform of the film and television industry. In 2020, the National Film Administration will actively coordinate with the Ministry of Finance, the National Development and Reform Commission, the State Administration of Taxation and other departments to study the introduction of special funds for film industry development and other fiscal and tax preferential policies. At the same time, it will increase support for the creation and distribution of key films, and guide local governments to introduce them. Policies and measures to help film companies relieve their development. The National Film Bureau and the China Association for Science and Technology also issued “Several Opinions on Promoting the Development of Science Fiction Films”, proposing 10 policy measures to strengthen support and guidance for the creation and production, distribution and screening of science fiction films, special effects technology, and talent training. In 2021, the relevant person in charge of the National Film Administration requested to strengthen the protection of film copyright, crack down on short video infringement and piracy in accordance with the law, and maintain a good network environment for the high-quality development of films… I think that for all aspects of film investment, production, distribution, and screening, relevant It is important that policies can be more flexible, more open, and more conducive to the liberation of film productivity.
The second is the guarantee of talents. It is necessary to cultivate talents and train teams. The rise of the younger generation of film artists is the key to the development of the film industry. Now Zhang Yimou and Chen Kaige are still the mainstays of domestic film directors. Some of them are over 60 or even over 70. Young and middle-aged artists must take over the class and maintain the sustainable development of Chinese films.
The third is to have a large number of good scripts with rich types as support, so that more good movies can appear.
The fourth is to further cultivate audiences, especially high-level audiences and young audiences. Relevant units and institutions should actively carry out mass film reviews and encourage the younger generation of film lovers through the Internet.
I am now working at the Beijing Film Academy, and we have greater responsibilities in terms of team building, artistic creation, and the cultivation of future movie audiences. We must also meet the needs of the development of the film industry and industry, and further do our work well.Miao Chun
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责编：张晓荣 ]
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