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How does China strike a balance between native films and foreign films? – part 2


Andrey Zvyagintsev, the Russian director who with Oleg Negin won the award for best screenplay in Cannes last year for the 2014 film “Leviathan,” will head the jury for the Golden Goblet Award. Other members include the Chinese director Cai Shangjun, the Chinese actress Hao Lei, the Hong Kong filmmaker Shi Nansun, the Korean screenwriter Kim Hee-jae, the French director Philippe Muyl and Ron Yerxa, the American producer of films like “Little Miss Sunshine.”

去年与奥列格·涅金(Oleg Negin)一起凭借《利维坦》(Leviathan)获得戛纳电影节最佳编剧奖的俄罗斯导演安德烈·萨金塞夫(Andrey Zvyagintsev)将担任金爵奖评委会主席。评委会成员还包括中国导演蔡尚君、中国演员郝蕾、香港制片人施南生、韩国编剧金希才(Kim Hee-jae)、法国导演费利普·弥勒(Philippe Muyl),以及出品了《阳光小美女》(Little Miss Sunshine)等片的美国制片人罗恩·耶克萨(Ron Yerxa)。


Outside of the main competition, cinephiles will have the rare opportunity to see films that weren’t given a domestic release or aren’t typically shown on the big screen in China. The festival will feature a Jean-Luc Godard retrospective as well as a first-ever screening in China of the six-film “Star Wars” saga. Some Hollywood films that weren’t included in this year’s import quota of 34 foreign films also will receive screenings, like “Boyhood,” “The Theory of Everything” and “Clouds of Sils Maria.”

 除了主竞赛单元,影迷们将获得难得的机会,一睹没有在国内公映或通常不会登上中国大屏幕的一些影片。本届电影节将举办让-吕克·戈达尔(Jean-Luc Godard)的回顾展,并在中国首次展映《星球大战》(Star Wars)系列的全部六部影片。中国今年引进外国影片的定额为34部,而一些没能引进的好莱坞片也将在本次电影节上获得放映,比如《少年时代》 (Boyhood)、《万物理论》(The Theory of Everything)和《锡尔斯玛利亚》(Clouds of Sils Maria)。


Also this year, China and other countries are marking the 70th anniversary of the end of World War II, or as the festival calls it, the “victory in the Chinese People’s War of Resistance Against Japanese Aggression and the victory in the World Anti-Fascist War.”



The festival will screen 11 films to commemorate the anniversary, including the 1957 classic about the construction of the Burma Railway, “The Bridge on the River Kwai,” and the 1979 Academy Award-winning German Film “The Tin Drum.”

在这一主题下,电影节将放映11部影片,其中包括1957年上映的讲述修建泰缅铁路故事的经典电影《桂河大桥》(The Bridge on the River Kwai),以及1979年的奥斯卡获奖影片——德国电影《铁皮鼓》(The Tin Drum)。


China’s largest Internet companies, like Baidu, Alibaba and Tencent, have been making major inroads into the entertainment industry, and the festival’s forum series this year will discuss the impact of this trend.



Several of the talks will also explore how Internet literature is becoming a source of inspiration for films, as well as the proliferation of Internet films, or films created specifically for the online market.



“As the online and movie realms become increasingly integrated, we want to create an Internet-oriented film festival,” Mr. Hu Jinjun said.



The festival has already begun moving in that direction. In March, it announced a three-year strategic partnership with the e-commerce behemoth Alibaba. The festival will integrate services like Yulebao, Alibaba’s crowdfunding-like service, and Taobao Dianying, which will serve as its official ticketing platform. Other corporate partners include the Internet giants Tencent and Youku.



One issue that continues to inspire debate at the festival and beyond is the foreign import film quota, one of the strongest policies that China has in place to shield the film industry. The quota, which allows 34 films to be imported on a revenue-sharing basis, is expected to be raised in 2017 or 2018, possibly to 44 films, according to The Hollywood Reporter.

在电影节内外持续引发热议的一个话题是进口影片的配额。这是中国采取的保护电影产业的最强有力的政策之一。在票房收入分成的前提下,中国目前允许引进34 部外国影片。《好莱坞报道》(The Hollywood Reporter)透露,中国可能会在2017年或2018年将这一配额增至44部。


While Hollywood has long pushed for the complete opening of the Chinese film market, China’s protectionist mentality is understandable, said Mr. Lee, the American-based producer, who has consulted on many United States-China co-production arrangements.



“You want an industry to have the chance to find its own voice before you open the floodgates,” he said.



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