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News Express

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News Express

China Film New Power Are Ready for Take-off

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[Abstract]:
On September 8, with “Faith·Feelings·Responsibility” as its theme, The 4th China Film New Power Forum was held in Changchun, hosted by State Administration of Film and co-organized by China Film Art R

On September 8, with “Faith·Feelings·Responsibility” as its theme, The 4th China Film New Power Forum was held in Changchun, hosted by State Administration of Film and co-organized by China Film Art Research Center (China Film Archive) and The 14th Changchun Film Festival Organization Committee. Youth directors, Zhang Yibai, Chen Sicheng, Peng Damo, Ding Liang and Huang Bo attended this “Changchun Seminar”. Famous screenwriters like Liu Yi and Ran Jianan, expressed themselves freely in the forum. In the meanwhile, producers from China Film Group, Shanghai Film Group and Bona Film Group shared industry rules. The forum gathered advice and suggestions on how to develop China film faster and better from various fields, reflecting fine impetus of China film new power.

What is the mission in this pleasant new era?

Until September 7, China film’s total value of the box office for this year had already reached 46.7 billion yuan, with a 16% year-on-year growth. The share of domestic films surpassed 65%. And in the first ten films of box office list, China films took up seven positions. And the box offices of first three films all exceeded 3 billion yuan. This data proved that China film was in the flourishing development era—possessing nice spectators, multiplex market requirements and huge youth director cast. In this kind of era, what is the mission of film producer?

Zhao Haicheng, Vice General Manager of China Film Co., Ltd held that film production should focus on content. In other words, from the script, develop punch lines, study spectators and create people-centered works. On the other hand, whether the area stationing of cinemas and screens was balanced was another viewing angle, from the perspective of Ma Weigen, Deputy Party Secretary of Shanghai Film Group. He considered, in the process of cultivating spectator’s watching habits, the development room would be wider and the competition would be more orderly if there were corresponding supporting policies. Jiang Defu, Senior Vice President of Bona Film Group Co., Ltd, used “finding and capturing” to explain duty, “rational resource distribution among every step of film industry should be discussed and investigated deeply. We should lay stress on the cultivation, discovery and use of youth filmmakers, in order to stimulate innovation vitality”. Wang Yibing, CEO of Dirty Monkeys Studio, believed that film production is a hard staff. Private companies should devote more time and energy to accomplish this mission and overcome the loneliness, with workhorse spirit and new power.

Is it hard to be “people-centered”?

After shooting I BELONGED TO YOU, director Zhang Yibai didn’t take part in new films shooting. He deemed that he need stop to “charge” and reflect, as well as observe the industry development, and grasp culture policy. In his opinion, spectators wished to project their own life and stories on the screen, which was exactly the cornerstone of director creation. Xierzhati, whose debut film MAI-MAI TI’S 2008 won Award of Most Popular Film of Changchun Film Festival in 2009, held that good director should keep in mind to find their works soul against cultural background,  and explore film road in accordance with “people-centered” purpose.

Chen Sicheng, director of serial film DETECTIVE·CHIN TANG, perceived film as “Fast Moving Consumer Goods of Art”. “Artistic quality decides the guidance of mainstream values that films bring to the spectators. On the other hand, film possesses business quality. And it is expected that related policies can provide more support and room for creation, enabling directors to be freer in this era and create more “people-centered” excellent works.” MAHUA FUN AGE series had already  successfully transformed from drama to film. However, director Peng Damo said that the biggest problem faced by the team was how to be cinematic. “It is easy to do dramas which aim to make the audience laugh from the beginning to the end. Everyday we stand behind them and see when they pick up their phones. Then we know it isn’t funny here and make adjustments at once.” In this youth director’s heart, “people-centered” work meant positive resonance with the spectators.

Is screenwriter required to be separate from his “soul”?

Four screenwriters attended the discussion of the forum, such as Liu Yi, judge of “Golden Deer Awards” and screenwriter of serial film WOLF WARRIOR, and Ran Jianan, screenwriter of PAINTED SKIN II. Ran Jianan who was accustomed to writing magical themes, held that if screenwriters were told that the investment was up to billion yuan in the time of project approval, they would have market pressure on their shoulders. “I think the story should have ‘soul’. How the story is told requires boundaries, with reasonable structure and mode. The magical theme ‘costs’ a multitude of imagination. However, I don’t think it is separate from life.” In Lu Yi’s opinion, writer should be a good listener in the first place. “What we experience is not the only life. What the screenwriter hears, sees, reads can all become their own stories and then think how to transmit these stories to the others.” He held that outstanding creators could involve themselves in the context. Only in that moment could the work be endowed with the soul in real sense. Qu Shifei, screenwriter of theme film LI BAO GUO, did contextual interviews and accumulated plenty of materials before his creation. “When I’m writing film script, it may take me two to three months from starting to finishing. But I need to think out where I can start, which will take the same amount of time. Only if there is emotion that you would like to express most and then infuse the power, ‘the last door’ can be deciphered.” (Bi Xinyue)

The 14th Changchun Film Festival investigates positively and attempts to innovate festival ideas. Terrun Media, as the exclusive investment operation organization, supports culture industry development, contributing their efforts to the Festival together with numerous enterprises, . As “old friend” of Changchun Film Festival, Hongqi maintains good cooperation relationship with the Festival for several years. And in this Festival, it becomes chief strategic cooperation unit. Moreover, Jilin Bank and Zuo Dan Li 159 provide support for the Festival, as strategic cooperation units; Several famous enterprises as partnership also contribute their efforts to the innovative development of The 14th Changchun Film Festival, such as Baji Group, Zhongjihongtou, Dongao Deer Industry Group, Changchun Electricity Power Supply Group, Hongxin Innovation and Entrepreneur Company, China Construction Bank Jilin Branch, Jishi Media, Jinri Wenhua, Lian Shang Ke, Xi Lu Yuan, and Nongfu Spring.