Q3 added 2,563 new screens, whether to promote the movie box office
In terms of box office revenue, there is no doubt that China’s film industry’s triumphant advancement momentum – after the mainland’s total box office exceeded 10 billion yuan in 2010, the mainland’s total box office totaled 9.5 billion yuan in the first three quarters of 2011. With the advent of the file, the total box office in the Mainland in 2011 will obviously continue to climb to a new high. It seems unlikely that it will maintain the 63.9% blowout growth rate last year, but it is obviously expected to maintain a growth momentum of about 30%. However, behind the soaring box office numbers are the hard support of the number of theaters and the number of screens: in the first three quarters of this year, 630 new theaters and 2,563 new screens were added in the mainland. The expansion of the screening position effectively increased the growth of the box office. However, during the same period, the average box office number of a single screen fell from 1.63 million yuan to about 1.08 million yuan. The decline of more than 30% undoubtedly shows the decline in terminal profit margins. From a commercial perspective, this may be more illustrative than the pure box office total. In fact, since entering 2011, the domestic film market has been quiet, and it is the Hollywood box office bombs such as 'Kung Fu PandaA dazzling masterpiece. The summer, Mid-Autumn Festival, and National Day files are all dull and boring. Although some domestic blockbusters rely on visual effects and high-density publicity to boost the box office, their reputation is lackluster. After three quarters, they can create topics and attract common people’s talks. There are basically no domestic movie works. This first highlights the reality that Chinese film talents are scarce. There is no doubt that the mainland directors who can carry the box office are still those old faces who are more than half a hundred years old and even sixty years old. Once they have no works to shoot, the fresh power that can top them is rare. Film is obviously a field with a strong youth culture, and it is not a long-term solution to always rely on the successful old directors to support the scene. Once upon a time, the entry of directors from Hong Kong and Taiwan did send fresh blood to the mainland film industry, but due to their own limitations, it seems unrealistic to expect compatriots from Hong Kong and Taiwan to take the lead. Secondly, the genre of Chinese movies has not been cultivated. After watching the first three quarters, except for a few youth horror films that have received box office surprises (of course, the absolute number is not large), there are basically no genre films that can be produced. (To make matters worse, it seems to have dragged down several Chinese-language genres such as Hong Kong-produced martial arts movies and action movies). Under the cultural hegemony of Hollywood, the lack of originality of Chinese films has been exposed, but from the perspective of the entire social and cultural environment, accountability cannot be entirely blamed on Chinese filmmakers. In fact, from the perspective of cultural economy, Chinese films have only just taken off in the new century. They have not yet shaken off the strong impact of television media, and have caught up with the rapid changes of the Internet. Under the 'suppression' of the overwhelming new media, Chinese films have completely It is inherently inadequate; and Hollywood has had nearly half a century of valuable accumulation before TV and the Internet became aggressive, which allowed them to seize the opportunity in the global film landscape. Even so, Hollywood's ticket real estate accounted for a negligible share of the nation's GDP. According to statistics in 2010, the total US box office accounted for only 0.1% of the total US GDP, while the proportion of China in the same period was 0.025%. From this point of view, the fundamentals of the film industry in both China and the United States are not strong. , Even if related industries and derivative products are added, they are not the main sectors of the national economy. As far as the domestic cultural industry pattern is concerned, the market size of online games in China in 2010 reached 34.9 billion yuan, drove the revenue of related industries to more than 60 billion yuan. Compared with the total box office of just over 10 billion yuan, it is definitely a shame. See Da Wu. The Sixth Plenary Session of the 17th Central Committee of the Communist Party of China proposed that the cultural industry will be accelerated to become a pillar industry of the national economy. In this process, the leading role of the game industry and the press and publishing industry will be very obvious. The direct pull of the industry is undoubtedly quite limited. However, the film undoubtedly carries a huge spiritual meaning, and it cannot be considered only from the 'industry' level. No one dares to underestimate the effect of film communication. Therefore, even if film is an industry with large investment, low return, long cycle and high risk (it is said that about 90% of domestic films in the first three quarters of this year are loss-making), There is a large amount of capital hot money flowing to it. For these hot money with a clear capital will, the box office of the movie itself is not important. What they value is the communication effect brought by the movie. The film loses, but the practitioners do not. The salaries of celebrities have risen, and the salaries of related staff are also rising. Although the problems are endless, in general, the film industry is still a relatively decent income industry, and it can really enter. In this industry, life will not be worse than the working class. As far as the current cultural industry structure is concerned, some movies have become more and more like advertisements, and the box office accounts for a smaller and smaller proportion of their revenue. Many movies have almost recovered their costs by placing advertisements before they are released. For many comprehensive enterprise groups, investing in filming is based on overall considerations and does not count on the box office at all. In the current economic structure, the share of movies is very small; in the distribution pattern, the popularity of television and new media has long overtaken movies. MGM is bankrupt. With the advent of the mobile Internet era, people’s entertainment methods will become increasingly diverse and interactive. Movies will always exist, just like dramas have always existed, but their importance will be greatly reduced.