北京电影学院电影研究所所长  王志敏

本文根据对电影与人关系的判断，以及对电影的本体论界定，重新理解了电影的产业形态，分析了电影种类和形态的多样性，探讨了现代技术条件下电影产业的发展前景，并以此为基础，提出了发展中国电影产业的更具前瞻性的对策。

The Future Evolution of Chinese Film Industrialization in

 Line with the Development of Modern Technology

By

Wang Zhimin

Director, Institute of Beijing Film Studies, Beijing Film Academy

 

This essay, based on the judgment of the relations of man with movies and the definition of the cinematic ontology, reconsiders the industrious status of movie production, analyzes various movies in multi genres and forms, and explores the future evolution of Chinese film industrialization in line with the development of modern technology. It is against this ground, it puts forward some most constructive strategies in the development of the Chinese movie industry.

 

构建电影批评与创作的和谐格局

——兼论电影批评如何应对电影产业化的新形势

  北京大学新闻与传播学院副教授　陆绍阳

在电影产业化的新形势下，迫切需要构建新型的批评与创作的关系，批评家要始终坚持美学的观点和历史的观点，才能对作品做出客观、透彻、有说服力的评价；批评家要与时俱进，适应电影产业化的新形势，主动投身到造就那些作品的时代和文化里去，运用新的话语方式对电影产业化和商业电影进行深入的文化分析和表述，成为市场机制的有效环节；批评家要在保持批判精神的同时，强化“学理批评”，建立批评信誉，把他对艺术的知识和热忱传递给其他人。

Forming a Communicational Bridge between Film Criticism and Film Creations—together with How Film Criticism Should Meet the New Situation of Film Industrialization

By

Lu Shaoyang

Associate Professor, School of Communications, Beijing University

 

Faced with a new trend of film industrialization, it is urgent for us to establish new relationships between film criticism and creation. Critics should firmly carry on artistic and historical opinions so that they can make objective, clear and persuasive judgments. They need to carry forward with the times to accommodate with development of film industry. By devoting themselves to the situation and culture in which artistic works are created. They can use new discourses to make in-depth cultural analysis and comments on film industrialization so as to integrate their efforts as an effective part to the market mechanism. Moreover, critics should strengthen theoretical criticism while maintaining a critical spirit so that they can establish credits and communicate their knowledge and enthusiasm to others.

 

引进大片在中国

中国电影艺术研究中心副研究员  王  群

大片进入中国十年，在经历了最初的狂热和巔峰之后开始渐趋平淡，而对大片的思考则由此开始：十多个年头，一百多部大片，究竟对中国的电影和观众产生了怎样的影响？观众究竟喜欢什么样的大片？大片的吸引力究竟何在？引进大片究竟是刺激了中国电影的新生还是将我们的国产片逼入绝境？中国电影究竟出路何在？本文意在通过对十年大片历程的回顾来完成对这些问题的思考，同时也为中国电影在全球化背景下的发展提供一份借鉴。

The Imported Blockbusters in China

By

Wang Qun

Associate Researcher, Research Center of Chinese Film Art

 

The foreign blockbusters have been imported into China for ten years. After going through a peak of great enthusiasm at the earlier years, the heat of the blockbusters has been getting faded away. However, it started our thinking about the foreign blockbusters: within over 10 years, more than 100 films have been imported. What impact did these foreign blockbusters bring on Chinese movies and Chinese audience? What kind of films do the audiences prefer? Where are exactly the attractions of the blockbusters to the audience? Has the import of foreign blockbusters stimulated the new life of Chinese film or pushed the Chinese films into the survival danger? Where is the hope and outlet for Chinese film? This article will give the serious thinking about these questions in retrospective of the history in imported foreign blockbusters in China during the past 10 years. In addition, it will provide the good reference for Chinese film seeking development under the globalization.

 

力量整合：全球化与打造中国电影产业核心竞争力

中国电影艺术研究中心副研究员   唐  榕

随着我国经济开放度的不断扩大，“入世”协议的签署，中国的电影业必将在全球化的互动语境中去迎接来自世界电影产业的竞争和挑战。本论文依据产业竞争力的理论体系，通过对世界一些国家电影产业竞争力的比较研究，特别是对美国的深入分析，以及对世界电影市场总体竞争趋势的概略描述，剖析了中国电影产业目前的竞争力状况，并在产业国际竞争力研究的分析框架下，提出打造中国电影产业核心竞争力的对策性建议。试图为改革与实践中的中国电影业提供一些依据与思路。

 

Readjusting the Strength: Globalization and Building the

Competitive Power of Chinese Film Industrialization

By

Tang Rong

Associate Researcher, Research Center of Chinese Film Art

 

With the assignment of WTO treaty, Chinese film industry will face the competitions and challenges from world film industry without any doubt. This thesis analyses the current situation of competitive advantage in Chinese film industry through a comparison with competitive advantages of world film industries based on the competitive advantage theory，and the author makes some suggestions on some of the competitive strategies in the development of Chinese film industry according to the analysis of the framework of world film industry.

 

 

构建和谐社会与中国电影发展刍议

解放军艺术学院  吕益都

构建和谐社会是我国改革开放及社会主义建设进入到新阶段的根本要求。一个人与社会、人与自然和谐的社会，一个人心凝聚、充满创造力的社会，不仅包括社会利益层面，也包括精神层面和价值观层面。因而，构建和谐社会无疑需要良好的文化氛围，需要有大量优秀的文艺作品来营造与创建和谐的整体社会环境。

Building a Harmonious Society amid the Development of Chinese Films

By

Lu Yidu

Art College of People’s Liberation Army

                                                                                                  

Building a harmonious society, which needs, without doubt, preponderance of literary and artistic works with high quality, is the essential requirement of China’s reform and opening to the outside word and construction of socialism. It also needs to build harmonious social environment. The prosperity of Chinese movies is tightly connected with development of Chinese society. The development of society and transition of time provide stimulus for movie culture. Under the tendency of harmonization, the movie industry and movie culture, which produce growing influence, are supposed to play important roles during the process of building a harmonious society.

 

 

电影版权和盗版应对

北京师范大学艺术与传媒学院   张　燕

当前电影已经成为全球文化产业的重要支柱性产业。作为电影交易的基础，版权的保护也日趋重要。通过版权转让交易，版权所有人可以从影院放映、电视播映、后产品开发、网络营销等途径获得丰厚的经济收益。目前盗版猖獗是全球电影产业发展的最大危害，给世界电影带来了巨大的经济损失。为有效打击盗版，世界各国要从健全版权保护法律体系、掌控电影产业环节、严格执法和提高观众版权保护意识等全方位入手。

 

Enforcement against Piracy and Protections of the Copyright

By

Zhang Yan

School of Art and Communications

Beijing Normal University

 

At present, movie becomes an important pillar industry of global culture industries. For the foundation of film deal, the copyright protection gets more important day by day. Trough the copyright assignment, copyright holder can make substantial profit from film showing, television broadcasting, post-products developing and online marketing. Now the rampant copyright piracy is the greatest crisis of global film industry. Piracy has brought about heavy economic losses. In order to crack down on the piracy effectively, all countries in the world must refine the legal system of copyright protection, control the key link of film production, enforce the law strictly and deepen people’s understanding of copyright protection. 

 

 

中国内地与香港合作制片的战略机遇与前景重构

北京电影学院电影研究所副所长  王海洲

当前，香港和内地的电影产业发展都面临着挑战，也形成了新的机遇，大陆和香港的电影业需要真正的合作制片，利用两地各自的优势，面对内地、香港两个市场，再造华语新电影。内地和香港的影业合作是建构民族电影的需要，要从香港影片进入内地市场单向运作的合拍机制，进入全方位、多元化的合作机制，创制华语新电影，逐渐占领全球华语电影市场，进而不断争取全球市场。

Strategy, Opportunity and the Future for the

Co-operations of Mainland China and Hong Kong in Movie Making

By

Wang Haizhou

Associate Director, Institute of Beijing Film Studies, Beijing Film Academy

The film industrial development of Hong Kong and mainland China is faced with challenges today, also form new opportunities. The film industries of the mainland China and Hong Kong need genuine cooperative system, using the advantage of everyone, aiming the two markets of the inland and Hong Kong, making new Chinese film. The cooperation of the inland and Hong Kong is to build the new national film. It is the strategy that benefits all participants in the cooperation, creating new Chinese film, occupying global Chinese film market gradually, and then striving for the global film market continuously.

 

借会展经济促进中国电影产业的发展

中国电影家协会  王  纯

随着社会主义市场经济体制的不断完善和发展，会展经济作为一种全新的经济形态在中华大地蓬勃发展，高度的开放性和关联性成为这一经济形态的主要特征。其间，中国电影业也经历了一段艰难蜕变的过程，电影从一个单纯而独特的文化现象转变为一种面向市场的经济行为，并进而确立产业化发展方向，就此完成了从小事业到大产业概念的重新确认。本文正是基于以上时代背景，来探讨会展经济与中国电影产业的关系，以及如何借会展经济促进中国电影产业的发展。

Let the Economic Conference Promote the Development of Chinese Film Industry

By

Wang chun

Chinese Film Association of Film Artists

The economic conference, as a new economic form, is booming in China with the development and perfection of Chinese socialist market economy. High out-opening and forming relations are becoming the most important imprint of this kind of economy. During this period, Chinese film is experiencing great innovations. Film making is changed from a lonely cultural phenomenon to an economic behavior that is to meet the market, and adjust its developing direction of industrialization. The purpose of this article is to discuss the relationship between conference of economy and Chinese film industry, and how to promote the development of Chinese film based on conference economy.

 

亚洲类型电影与产业化发展

浙江大学广播电影电视研究所 所长 陈晓云

电影产业的发展很大程度上依赖于商业化的类型电影的形成。经历百年兴衰的美国好莱坞电影，曾经繁荣的香港电影和世纪之交崛起的韩国电影，为电影的产业化发展提供了可供借鉴的参照。如何完成电影的类型构建和产业化发展，成为亚洲电影能否获得再生性发展的重大课题。在世界电影尤其是亚洲电影的背景下寻求中国电影的产业之途，同样成为一个重要而切实的话题。

Asian Film Genres and the Development of Film Industry

By

Chen Xiaoyun

Director

Broadcast Film and Television Research Institute,Zhejiang University

The development of film industry, to a great extent, depends on the formation of commercialized stereotyped films. The rise and fall of American Hollywood films for a century, the ever prosperous Hong Kong films and the rising Korean films at the turn of the century provide a reference for the development of film industrialization. How to accomplish the construction of film stereotypes and the development of industrialization has become a significant project on whether Asian films acquire productive development. The pursuit of film industry of China in the background of the world, especially Asian film industry has become an equally important and practical subject.

 

电影与媒体间的互动

中国电影家协会电影产业研究中心  郑  岑

电影产业的发展在很大程度上离不开媒体的互动与合作。现如今，无论是书刊、电视这样的传统媒体，还是网络、手机这样的新兴媒体，随处可见电影与之携手互动，而互动的方式也是从内容到渠道再到营销方式，显现出一派繁荣的景象。然而在这背后，电影与媒介的互动又存在过于表面化、虚火的成分。本文将电影与媒介互动类型和方式作了一个宏观概况的描绘，并对互动的现状提出了问题和思考

The Interaction of Film with Other Medias

By

Zheng Cen

Research Center

Chinese Film Association of Film Artists

 

The development of film industry has everything to do with the interaction and cooperation with other medias, no matter the traditional media, like print is cooperating very well with them through all kinds of ways. However, just behind this, the interaction between film and other medias seems too superficial and unreal to some extent. In this article, we will make a brief introduction on the ways and variety of the interaction between film and media, and also will give our concerns and thoughts on the current status of their interaction.

 

回眸与思考

——中国电影教育、电影产业发展研究与思考

全国政协教科文卫体委员会委员

北京电影学院院长 张会军

本文全面、系统阐释了具有55年历史的中国电影教育的发展，细致、具体分析了中国电影教育的基本现状，两种类型，特点与定位，认识的问题，拓展和对策，应具备的意识。文章特别是从16个方面列举了、分析了、研究了中国电影产业未来发展过程中应该注意解决和深入研究的问题，随着全球化经济的发展，电影的高等教育根据它的特殊性和行业性，也要面临自身的多元化问题。

Some Flashbacks and Thoughts on Chinese Film

Education and the Development of Chinese Film Industry

By

Zhang Huijun

President of Beijing Film Academy

Member, SECP of Chinese National Political Consultative Committee

 

This essay offers an extensive, systematic analysis of Chinese Film education of 55 years, looking into its current status in details, including two patterns, special characteristics and comprehension problems. It further discusses the strategies needed in its future development as well as the right attitudes. Through 16 perspectives, the article raises questions, analyzes and explores the possible answers. With the fast pace of globalization, Chinese higher education of film has to consider its special professional characteristics and meet the need to conduct multi-level management. 

 

中国电影制作融资渠道的策略分析

上海交通大学媒体设计学院   邵 奇

电影作为一个产业,资本与金融是电影产业化运作最为重要的推动力。融资渠道和融资方式的拓展是解决中国电影制作资金短缺的重要议题。本文就中国电影产业政策与市场特征。比较中国电影制作的融资方式与国外电影制作的融资方式的不同特点。提出了解决我国电影制作融资问题的具体方法。并就拓展电影制作的融资渠道。改善电影制作的融资方式提出了建议。

An Analysis of the Strategies in Getting the Financial Budget in Chinese Film Making

By

Shao Qi

College of Media Design

Shanghai Transportation University

 

In film industry, capital& finance are the most important pushing power of film industrialization. The development of financing channel & financing method are the keys to settle the funds shortage in film production. Based on the Chinese film policy & marketing features, it compares the film financing methods with that of overseas. The paper proposes useful suggestions on how to settle the fund shortages in China film production, how to expand the Chinese film financing channels and how to improve Chinese film financing methods.

 

中国音像产业现状与发展分析

北京师范大学艺术与传媒学院  周  星

音像业是文化产业中的一个重要构成部分，它的盛衰关系到传媒业乃至于国家文化产业发展。本文梳理了中国音像产业发展历史，以大量数据描述音像产业发展状况，在与国外音像产业的比较分析基础上，针对目前的问题进行探讨，提出进一步发展的建设性意见。

An Analysis on the Present Condition of Chinese

Audio and Video Industry and Its Development

By

Zhou Xing

College of Art and Communications

Beijing Normal University

 

The audio and video industry is an important part of the cultural industry. Its ups and downs could affect the developments of communication and our national culture industry. This article has gone through the outlines of the evolutional history of Chinese audio and video industry. It sets up a comparison on the basis of abroad data of the development of the industry, then, proposes some constructive suggestions on its further development in consideration of the present problems existed in the industry.

 

 

中国电影如何借鉴西方的置入广告经营体系

美国《综艺》执行主编  王英霞

 

How Chinese Film Pick up the Western Ad Commercial Runs

By

Wang Yingxia

American Magazine “Varieties”

 

竞争性合作：“入世”后中美电影业交互态势展望

上海交通大学电影电视系  教授 李亦中

在全球化背景下，中、美两国电影业出现竞争性合作的趋向。这种竞争是以合作方式体现的竞争，在资源共享的基础上由双方提供各自独特的优势资源，合作过程中伴随着实力的角逐与利益的妥协。本文结合中国“入世”以后中、美两国电影业的交互态势，逐项分析双方在资金资源、市场资源、观众资源、内容资源、人才资源等五个方面的共享状况与不平衡状况，探讨进一步提升国产片竞争活力的对策。

 

Collaboration in Competition: Looking at the Sino-US.

Cooperation and Competition in Film Industry after China Joining in WTO

By

Li Yizhong

Professor, Department of Film and Television

Shanghai Transportation University

 

 

Under globalization, an attendance of competitive collaboration has appeared in Sino-US film industries, which is seen in the form of cohabitation. In this context, relationship between Chinese and American Film industries is going toward a competitive collaboration. Competition is taking the form of cooperation, by sharing unique resources provided by each part. Collaboration is impregnated as well with fights for power and interest. This paper reviews the late development of Chinese and American relationship in Film industry after China’s joining the WTO, analyses the resources of capital, market, audience, content and human resources available to each part and explores the tactics of raising the competitiveness of Chinese movies on Global market.

 

网络流媒体模式观影研究

西南师范大学文学院影视艺术系  刘  帆

伴随视音频压缩技术和网络宽带传送技术的不断拓进以及多种流媒体上传与下载解决方案的出现，影像消费的主流终端正在由影院、电视向电脑、PDA、智能手机等流媒体载体过渡。而流媒体方式的观影处于一个“私域”的状态，从观影心理机制、接受体验方式以及获得商业回报的途径上讲都与传统观影模式存在较大的差别，而这种差别也构成了电影产业化进程中不同观影模式异质、错位竞争与发展的平台。

 

Studies on the Form of Media Communications:

Netting and Flowing into Different Movies

By

Liu Fan

Art Department, College of Humanities

South West Normal University

 

With the development of audio-frequency-compress technology and network broadband and the availability of the solutions to upload and download requests, the market of film and television watching is shifting from cinemas, TV to the Medias of computers and PDA, intellectual cell-phone. And the watching in these Medias is very private in nature, and differs greatly in terms of reception psychology, receptive experience and commercial earnings from the traditional viewing. And this difference has set up the platform for further competition and conformity in the development of Chinese film industry.

 

依托高等教育，构建中国电影学术研究的国际合作平台

北京电影学院教授 姚国强

近年来，中国电影市场上票房收入最高的电影作品主要集中在受过电影学科高等教育的艺术家群体中。本文认为，当下我国的高等院校作为电影学术理论、艺术创作和市场拓展的基础平台和学术机构，已发挥出越来越重要的作用。因此，中国电影如果想提高艺术创作水平、全面实现电影产业化，迈向世界影坛的颠峰，是离不开高等院校的支持的。所以，依托高等教育，构建中国电影学术研究的国际合作平台，全面实现中国电影的产业化，将成为国家“十一五规划”中的重要研究课题。

Constructing an International Platform with Higher

By

Yao Guoqiang

Professor, Beijing Film Academy

In recent years, most popular films were made by a group of people who graduated from professional film schools of higher education. It concludes that higher education of film has been seen playing more and more important roles in this cycle. Therefore, Chinese film industry can not do without higher education of film, if it is to increase the artistic level of filmmaking, to enhance the development of film market and tries to reach the top of the global films. With the help of film academies and universities, we could set up an international cooperation platform for Chinese movies, and enhance the institutionalization of the Chinese film industry, which should be an important research subject in our national 11th-Five-Year plan.

 

电影旅游：产业融合的文化诉求

北京大学艺术学系 副教授  李道新

对于电影业和旅游业而言，产业融合无疑是一场正在发生的、优胜劣汰的新产业革命。在电影业与旅游业相互融合基础之上产生的电影旅游业，有可能为中国电影业和中国旅游业带来前所未有的巨大商机和1+1=3的文化生产力。结合目前的运作实践可以发现，中国的电影旅游业只有以文化诉求作为市场竞争的价值导向，才能将电影旅游的产业融合提升到产业发展与经济增长的高度，使其成为一种具备特定的创新空间和品牌效应的全球性力量。

 

Film Tourism: the Cultural Aspiration of the Industry Convergence

By

Li Daoxin

Associate Professor,  Art Science Department，

Beijing University

 

For the film industry and the tourism industry, industry convergence is undoubtedly an undergoing new industry revolution in which the bad one will be replaced by the better one. Based on the convergence of the film industry and the tourism industry, the film tourism business will be likely to generate great economic opportunity and the 1+1=3 cultural productivity. The current practices make clear that if the convergence of film and tourism industry will be promoted to the industry development and economic growth level and become an innovative space and a global force with broad effect, the Chinese film tourism business should make the cultural value aspiration as the first value in the market competition.

 

中国主流电影的认同机制问题

中国艺术研究院影视研究所副所长  贾磊磊

主流电影是支撑一个国家电影产业的重要支柱。目前，提高中国“主流电影”的专业化制作品质，增强其对电影观众心理的调控能力，进而建构中国主流电影的认同机制，是当今中国电影必须认真面对的问题。主流电影的应当采取类型化的叙事策略，将观众的集体想象与自我欲望相互“缝合”，同时，以平民化的叙述视点展现人物的人格精神和亲情伦理，改变那种完全把个人、家庭的幸福与国家、民族的利益截然对立起来的叙事模式，建构符合观众普遍接受心理的主流电影认同机制。

The Issue of Chinese Mainstream Film’s Identification

By

Jia Leilei

Associate Director

Film and Television Research Institute

Chinese Art Research Institute

 

The mainstream film is an important pillar that props up a national movie industry. Currently, improving the specialized production quality of Chinese mainstream films, enhancing the mainstream film’s ability to regulate and control the audience’s psychology , and then constructing its id’s reorganization are the problems which Chinese movie industry has to face up to . The mainstream films should adopt the narrative strategy of a genre and “suture” the audients’ collective imagination with individual’s desire. At the same time, it should exhibit the characters’ personality and natural affection ethics from the perspective of civilianized narrative, and change the old narrative pattern which opposed the happiness of individual and family to the benefits of countries and nations, thus constructing the mainstream film’s identification which accords with the universal receptive psychology of the audience.

 

国内影视经纪行业发展及现状

《文艺报》《文化副刊》副主编  颜  慧

经纪人是一个新兴行业。这几年来，影视经纪人正逐渐活跃在在影视文化产业的各个环节，并发挥着越来越重要的作用。本文从影视经纪人（主要涉及明星经纪）的概念、经纪人的知识结构与职业素养入手，对经纪人在国内外发展的历史，以及在国内的发展现状进行分析。

The Present Condition and the Future of the Profession of Film and TV Agents

By

Yan Hui

Associate Editor-in-chief,

《Literal Art》，《Culture Addition》

 

Film agent is a new trade now. During these years, in the enterprise of film and TV, the agents are active in all kinds of links, and have more and more important functions. This article focuses on the concept, the knowledge and professional accomplishments of the agents of film and TV line, especially focuses on the star agents, in order to analyze the trade’s history and evolution both at home and abroad.

 

香港当代电影产业现象初探

香港电影评论学会  列  孚

1970年代末、1980年代初所出现的新生景象是香港电影的转折点。香港当代电影指的是从这转折点到现在为止的这1/4世纪的时间。进入新世纪，香港与内地签定CEPA协议，协议规定香港电影要是进入中国内地不再作为进口片、香港与内地合拍片获国产片待遇等，使香港电影获得直入中国内地市场的良好发展机遇。不过，由于地域文化关系，建议香港电影应借鉴1980年代的“台湾经验”，先以关系向来密切的广东市场为主，所有影片都适应中国内地市场是不可能的——“一口吃不下一个大胖子”。

A Preliminary Study on Modern Hong Kong Film Industry

By Reeve Wong

Hong Kong Association of Film Criticism

 

The new situation emerging in the end of 1970s and early 1980s represented a turning point for Hong Kong film industry. Modern Hong films refer to films made in a quarter century from the turning point to the present. Stepping into the new century, the CEPA (Closer Economic Partnership Agreement) signed between mainland and Hong Kong regulated that Hong Kong films would no longer be treated as imported films and films co-produced by Hong Kong and mainland film makers would enjoy treatment of domestic films.  This agreement bestowed good opportunities for Hong Kong films to get direct access to the mainland market. However, taking into consideration of regional cultural factor, it is recommended that Hong Kong films learn from the “Taiwan Experience” in the 1980s i.e. focus on Guangdong market. It is not possible for all Hong Kong films to suit the mainland market just as Rome was not built in a day.

 

当本土遭遇国际：中国电影的跨国对话

北京电影学院电影学系  副教授  张爱华

自20世纪90年代以来，中国电影业受到了好莱坞的巨大冲击，当本土遭遇国际，我们的对应策略是什么？中西方之间市场经营模式和创作策略的跨民族对话与交流构成了本项目研究的主要框架，我关注的是经济全球化，尤其是好莱坞对全球大众文化的形成产生着哪些关键效应，采用了哪些经营模式和策略？如何又反过来影响了我们电影的生产。最后将通过电影市场整体的分析与对比研究去探索中国电影跨民族对话的必要性，从而希望能从不同的侧面带给正处于发展时期的我国电影业一些新的思考。

 

When the National Market Meeting with the International Challenges:

Conducting A Transnational Dialogue

By

Zhang Aihua

Associate Professor, Department of Film Studies

Beijing Film Academy

 

Ever since the 90s of last century, Chinese film market has been under constant threat and disturbance from the west. When meeting with the international challenges, what strategies should we apply? The context of the research therefore centers on the administrative patterns of the film industries between China and the West, strategies of film making and transnational communications. What it concerns is to see what impacts Hollywood produced upon global mass culture, what strategies adopted and how they influenced our film productions. It ends with the exploration of the necessity of conducting transnational dialogues after analyzing the total film market. Hopefully, the essay would shed some new light on our film industry that is under rapid development.

 

文化和经济的两重奏

――对中国电影国际化合作历史的思考

上海大学影视学院 教授  陈犀禾

上海大学  博士生  黄望莉

电影中的国际化合作需要协调多方面的要求和利益，是双方或多方成功互动的结果。作为一种文化产业（媒体研究中称为“内容产业”），电影合作不同于一般的产业（如汽车生产，家电生产领域的）合作。它不但涉及合作各方在经济上的互利性，也涉及合作各方在“文化”和“内容”理念上的兼容性。本文将从历史角度考察新中国电影（1949年以来）在国际化合作上的发展，探讨其中经济因素和文化因素的演变和互动，并展望中国电影国际化合作的未来。

A Duet of Culture and Economy

--Some Thoughts on the History of International Cooperation of Film Production in China

By

Chen Xihe, Huang Wangli

Shanghai University

 

International (regional) cooperation in film production needs to negotiate terms and coordinates interests among each party in cooperation. A successful cooperation is a result of successful interaction between two parties or more parties. As a cultural industrial (or “content industrial”), the cooperation of film production is different from other industrial cooperation. It does not only concern with economical interests, but also with cultural “compatibility” between each party. This paper will trace the development of international film cooperation of New China (since 1949) from the historical point of view, explore the change of economical and cultural factors, and take a look at the future.

 

 

好莱坞资本Vs中国电影产业：充满悬念弈局

中国电影集团第三制片分公司策划 编剧 二级文学编辑 张延纪

随着中国加入WTO，好莱坞资本已开始进入中国，与中国电影产业展开了争夺中国电影市场的较量。在这场较量中，双方采取的策略、应对的步骤、拿捏的分寸都将决定最终的结局，因而可以比作一场博弈。这场博弈的结局，将决定中国电影产业的未来命运，对中国电影产业来说，这场博弈只能赢不能输。

 

The Hollywood Capital VS Chinese Film Industry:

Full of Suspense and Competitions

Zhang Yanji

Planner, Screenwriter, editor

3^rd studio of Chinese Film Corporation

 

With China joining in WTO, the capital of Hollywood has already started entering China. Hollywood began its aggressive expansion and competition in Chinese market. The strategies, steps and proper handling on both parties will decide final outcome, which will tell the future destiny of the Chinese movie industry. To Chinese movie industry, it can’t afford to lose but to win.

 

上海电影的复兴

——2004至2005年上海电影产业报告

上海电影集团副总裁  天  云   

上海交通大学  助研  崔  辰

 

上海是中国电影的发祥地，而近年来的上海电影产业则不容观。2004年至2005年，随着中国电影市场的回暖，上海地区的产业格局呈现出新的景象：作为新中国电影的三大基地之一——上海电影制片厂的内部改制并获得了成绩、更符合市场规律的电影营销方式的采用、民营电影公司站稳脚步后开始进行特色化经营，如制作高清电影、小成本的主旋律影片。另一方面，上海电影正在发挥地域优势：大都市开阔的视野和良好的融资环境应该予以更为充分的利用。

The Renaissance of Shanghai Movie Industry

By

Tian Yun,

Vice President, Shanghai Film Corporation

Cui chen

Associate Researcher, Shanghai Transportation University

 

Shanghai is the cradle of the Chinese film, but in the past few years no obvious success was seen in shanghai film industry. During 2004-2005, as Chinese film market was becoming more and more prosperous, new changes have taken place in shanghai film industry, such as the success of inner reform in shanghai film studio which was considered as one of the three bases of Chinese new films. The adoption is more market-fit for film sales. The private film firms started making   highly intelligible or low-cost films in the main trend. On the other hand, with the regional advantages such as excellent investment environment and international communications etc, Shanghai film industry is further developing.

 

文化会盟与中国电影产业的振兴

——略论中国海峡两岸三地电影产业合作的主流趋势

北京电影学院教授  黄式宪

中国海峡两岸三地（即大陆与港、台）的新电影，在20世纪最后一、二十年间，曾以其同根同文的现代民族精神，实现了一次文化会盟；与此同时，三地的华语电影则分别有过数度热络的制片合作。到21世纪之初，从《卧虎藏龙》到《英雄》、《十面埋伏》、《功夫》等华语武侠大片相继问世，重振了中国电影之雄风。本文考察了三地电影的产业合作及其主流趋势，进而论证如何聚合三地电影产业的优势，不断提升中国电影的国际竞争力，这正是我们所面对的一个迫切课题。

On National Unity and the Revival of Chinese Film Industry:

The Main Trend of Chinese Film Industrial Cooperation for

People in Hong Kong, Taiwan, Main-Land China and Overseas

By

Huang Shixian

Professor, Beijing Film Academy