Chapter 547

In fact, Xiangjiang film is not declining, but returning to normal. The prosperity of Xiangjiang film itself has a special historical background.

With such a small population, the market is extremely prosperous. Just looking at the number, it can be compared with developed countries with tens of millions of people. In addition to the rapid development of Xiangjiang economy after the 1960s, it also has a great relationship with the long-term exile of mainland intellectuals in Xiangjiang. These intellectuals exist not only as creators, but also as consumers.

In fact, many intellectuals are concentrated in Taiwan, but Taiwan has the factor of military control, cultural creation is suppressed, and sometimes it has to borrow Xiangjiang to create. In other words, if there are hundreds of millions of people in China, only Xiangjiang can engage in art. If there is no fire, it can only show that Xiangjiang people are naturally stupid.

Since the end of military control in Taiwan and the determination of the opening-up route in the mainland, Xiangjiang film has reached its peak, but this actually depends on the commercial accumulation in the 1970s and the creation of the new generation of filmmakers in the 1980s. When Taiwan and the mainland really let go, Xiangjiang, which has no talents and resources, will be compared.

Although mainland films gradually overwhelm Xiangjiang films, they still can't beat Hollywood. Anyway, the world can't beat Hollywood. Xiangjiang's rough and short-term play in the past is only possible in relatively backward places such as India.

The peak of Xiangjiang film is five years before and after 1990. The time division is about 1985 to 1995. In the early stage, Bruce Lee was equivalent to laying the foundation for Xiangjiang film in the 1970s. In 2001, Infernal Affairs announced the final glory of Xiangjiang film. After Xiangjiang returned in 1997, Xiangjiang film gradually declined.

Although this time point is cleverly timed, the decline of Hong Kong films is mainly due to the industrial revolution in film technology in the United States. After the success of the industrial revolution in film technology in the United States, just like the countries of the modern industrial revolution, they immediately stand at the commanding height of the industry.

In the late 1990s, the United States has made these works: Terminator 2, Titanic, Star Corps and so on. Around 2000, American films have fully entered computer digital special effects films, matrix series, Lord of the rings series, spider man and so on.

However, the contemporary Xiangjiang films are still making kung fu action films, gangster films, martial arts fantasy films and comedy love films. Except for director Tsui Hark and director Zhou Xingxing (Shushan biography and Shaolin football), other Xiangjiang films are not aware of the lethality of the backward film technology revolution.

The other is the narrow local market of Xiangjiang.

Xiangjiang has only a population of more than 7 million, plus Taiwan's population of more than 23 million, almost 30 million. With the invisible markets in Southeast Asia, Japan and South Korea, the consumption base of the film market is barely enough.

American commercial blockbusters in the late 1990s often invested hundreds of millions of dollars. Xiangjiang's local market is too narrow to support such a huge investment.

Xiangjiang film has reached its peak, but talent has also flowed out. The Xiangjiang market was too small, and the mainland film market did not develop at that time. Male and female superstars such as Wu Yusen, Fang long, Li Lianlian, Zhou Renfa, Michelle Yeoh and so on have successively entered Hollywood, and not only they enter Hollywood, but also with the fundamental elite team of Xiangjiang film behind them.

Although the Chinese films are old and have passed their peak when stars such as van Loon return to China. However, Jackie Chan's achievements are not only an Oscar Lifetime Achievement Award, but also spread Chinese kung fu films to all countries in the world and become a business card and monument of Chinese popular culture.

The rise of the mainland market is also a reason. Xiangjiang film talents collectively go north

After 1997, it has been 20 years since the reform and opening up of the mainland, and the economy has developed rapidly. The mainland is a huge market with a population of 1.4 billion. At that time, the market was not as good as it is now, but the more than 200 million box office created by Zhang Yimou's hero was not comparable to that of Xiangjiang.

Therefore, the contemporary Xiangjiang filmmakers, in addition to Kung Fu stars such as Fang Long and Li Lian, other Xiangjiang filmmakers collectively chose to go north for development.

After Xiangjiang's film talents collectively went north, Xiangjiang's local talents were not picked up, Xiangjiang's kung fu action film stars were getting old, Xiangjiang's female stars in the last century were getting married or getting old, singer idols were getting old, and then went north to the collective of Xiangjiang's directors and elite talents. Xiangjiang's local people naturally faced the dilemma of talent shortage.

In addition, due to the historical background, although there are many problems in the border cultural industry, the general trend can not be reversed.

Xiangjiang's local stars go to Hollywood with the old, and the elite talents go north. Xiangjiang's local talents are in short supply, and the capital can't support large-scale investment. Naturally, with the economic development of the mainland getting better and better, the consumption of the film and television market is getting higher and higher.

This trend is like the wheel of the times, rolling forward, relentlessly rolling over everything in front of us. In terms of Chinese culture, Xiangjiang film is like this, and Taiwan's film and television music is not like this.

With so many reasons and problems, even mark, who has golden fingers and a large number of resources, can not make Xiangjiang film return to the peak era. The most is to take advantage of the current financial and technical advantages to seize the opportunity and take a share in the fat meat of the mainland. As for returning to the peak era, it is impossible.

Mark Jiu is in Hollywood and knows that his film industry system is strong, and the support at the national level is not comparable to that of any country. People shoot on warships, aircraft carriers, air force one, the Pentagon and the White House. You can't compare it if you don't say that the money is not enough, even if the money is enough.

Mark's layout of Chinese films is to make them bigger and stronger and take a share in the world film market. He doesn't want Chinese films to overwhelm Hollywood. The dominance of Hollywood is linked to the world hegemony of the United States. This is the trophy of the winner, which can't be envied or robbed by others.

In essence, mark is a businessman. He can't do without the nature of capital chasing profits. Making movies must make money, which is necessary. This film and Television College can be understood as a long-term investment and will eventually give back to him in some way, which has nothing to do with his ideals and feelings.

This super blockbuster doesn't mean to be made. This year, there have been many blockbusters on the street. In March, "ten thousand years before history" and in May, "electronic world hegemony 2" owe Disney no tears.

Until the release of the action adventure blockbuster "Indiana Jones 4: the kingdom of crystal skulls", which was invested by the paramount family and DreamWorks for nearly $185 million, drove away the champion Prince Caspian last week and reached the top as scheduled. Although the cumulative revenue of $126 million in the four days of Thursday's premiere is slightly smaller than the industry's estimated $140 million, it is still an amazing achievement. Of course, this is also the most gorgeous opening figure so far in 2008.

Unlike the weak Prince Caspian, which pulled the whole market up slightly last week, the Raiders of the treasure pulled the comprehensive rise of the top 12 by 33%. The market hit the highest figure this year with us $167 million. Although the figures in the past four years when pirates of the Caribbean 3: the end of the world, X-Men 3, Star Wars prequel 3: Heath's revenge and monster Shrek 2 were in command of the three armed forces, they can still be called excellent figures at a time when a large number of strike American dramas have been replayed and gradually entered the final outcome of this season.

The super large-scale and gorgeous Premiere (the first in Paramount's history) of "Raider 4: the kingdom of the Crystal Skull" in 4260 cinemas, the third in film history (second only to pirates of the Caribbean 3: the end of the world and Harry Potter and the order of the Phoenix), swept about 101 million in three days at the weekend with an average of about $23700 per Museum. The premiere weekend score of 101 million: second only to pirates of the Caribbean 23, ranking third in the action adventure epic of film history; Second only to Spiderman 13, Shrek 23, Pirates of the Caribbean 3, Star Wars prequel 3 and X-Men 3, ranking the eighth in the history of film premieres in May; On this basis, "Pirates of the Caribbean 2" was added, which fell one place, ranking ninth in the history of summer films.

On this basis, add "Harry Potter and the Goblet of fire" and drop another place, ranking 10th in film history.

In addition, with a cumulative revenue of 126 million on Thursday, it ranks eighth in all dynasties four days before the premiere of film history, second only to spider man 23, Star Wars prequel 3, Pirates of the Caribbean 23, Shrek 2 and hacker empire 2.

25.04 million on Thursday's premiere day, second only to Star Wars prequel 3 and hacker empire 2, ranking third in film history on Thursday's premiere; If the overall ranking is ignored by the day of the week, the data will rank 28th in all dynasties on the premiere day of film history.

As it effectively attracts all age film viewers, it forms a long-term curve of "Thursday ＜ Friday ＜ Saturday ＞ Sunday". Therefore, the peak value of four days is 37 million on Saturday, which is second only to the premiere Saturday of spider man 13, Shrek 23, Pirates of the Caribbean 23, prequel to star Wars 3 and iron man, ranking ninth in all dynasties in film history; If the overall ranking ignores the day of the week, it will rank 22nd in the history of the premiere weekend Saturday single day.

In short, this is an exciting but not surprising relatively regular achievement. On the one hand, the three-day weekend is extended to four days on the basis of Monday's "Memorial Day", and it is extended to five days following the tradition of "starting on Thursday" of this series, which itself reduces the visitor flow density from Friday to Sunday. On the other hand, although most schools have holidays, I'm afraid it will take time to attract all the young people who are busy with parties to celebrate the coming holidays to the cinema. As a result, Indiana Jones 4 made its debut with a "relatively low-key" of 101.126 million - I hope this promising "No. 1 seed player of the annual box office champion" will tell you the answer with next week's decline.

Compared with Paramount's jubilation, the Disney camp may be in tears. "Narnia legend 2: Prince Caspian" repeated the tragedy of the collapse of Superman's return in front of Pirates of the Caribbean 2: Soul gathering coffin, and left the battle for hegemony at the high box office and the team breaking the 200 million mark early with a huge decline of 58.2%. So far, the cumulative revenue of 91 million and the average of only 5900 per museum this weekend show that the box office range of Prince Caspian is likely to be about 150 million.