Furthermore, the prevalence of "Oscar standards" induces the gradual formation of the consumer mentality driven by award-winning filmmakers in the domestic film market, so that commercial films symbolize great films, and famous stars indicate the guarantee of box office earnings; the works that spend small costs, use ordinary actors, and lack of avant-garde performance styles gradually go begging. "The Piano in a Factory" in 2011, which reflects the real life of laid-off workers in the northeast old industrial base, due to lack of commercial elements, stumbled even in the promotion and distribution stage, found it difficult to squeeze into the market crowded with blockbusters, and resulted in dismal box office earnings. The "Greatly Distressed" (or "Feng Shui") in 2012, which reflects the current family conditions of grass-root shoulder-pole workers in Wuhan, suffered a similar fate due to lack of big stars. The "blockbusters" fever leaves no room for films reflecting the contemporary reality, which severely squeezed the creative spaces of filmmakers.
The striving for recognition of international awards is a powerful channel for Chinese films to go into the global market, but in what form and how to do so? This is a question worth considering. In the market ecology swept by commercial indicators and blockbuster trends, the long-term vitality of film makers and film works lies in the adherence to the artistic value, and in the insistence on national characteristics based on realism.
Source: Guangming Daily, author: Cao Huafei
The millionaire philanthropist promotes 'Clean Plate Campaign' at CPPCC session.
Feedback
RSS
