More prosperous, better market and industry infrastructure are among the key words for film production mentioned in the recently-released 14th Five-Year Plan for the Development of the Chinese Film Industry, which paints a blueprint for growing a country strong in film making for the next five years.

　　Film making is one of the most visible signs indicating a country's cultural soft power. During the 12th and the 13th Five-Year periods, Chinese film industry was faring well, evidenced by steady growth of productions, more diverse styles of storytelling, upgraded quality, and occasional blockbusters. Entering into the current 14th Five-Year period, Chinese film industry has shifted gear to quality-centric development loaded with creative potentials, though uneven and insufficient development still slows the industry down. The Plan is a collective answer to many outstanding challenges.

　　Bringing the vigor out of film making

　　Some bold annual targets are set in the Plan to inspire quality upgrade, for example, 10 films popular both at the box office and the public forum, and 50 films in the 100 (million yuan) club. Other objectives are preaching the country's established philosophies, encouraging diversity. Naturally, how to accomplish these objectives?

　　"I believe the above targets are attainable," says Chen Shaofeng, Deputy Dean of Institute for Cultural Industries, Peking University. "The pandemic is inflicting a heavy toll on the film industry, which needs policy support more than ever. Additionally, China is overhauling the trend of excessive-entertainment of films, causing film contents to look for new directions. Challenges and opportunities bump into each other all the time. The industry is upgrading, but it takes time."

　　Main melody films and those animation films with Chinese elements are popular among the public in recent years. These content genres are closely-knitted with the history telling the growth of the country and the people, providing massive space for creation and creating high moral bars for the society. "Made-in-China animation films are embracing a crucial period for quality development during the 14th Five-Year period. Traditional Chinese culture will pace the content market, which will expand to all age groups, create niche markets, uplift brand values," says Song Lei, director for development of China Animation Comic Game Group.

　　The Plan also stresses international influence and expansion to oversea markets. "Establishing a dedicated film fund to finance those companies having an eye on international market is a must for the development of Chinese film industry," says Chen. "Those outbound films shall be produced honoring the taste of global audiences with certain entertaining elements, and values/aesthetics resonated by the wider viewership.

　　Upgrading film-related consumption

　　Trending along with the changing consumption climate, meeting the needs of viewers are the requirements provided in the Plan to materialize upgrade of film-related consumption, facilitate development and licensing of film-generated merchandises, and spur steady growth of pan-film revenues. In the meantime, cracking down hard on illegal videoing, streaming and other run-ins with the law are among the legislate and policy measures mentioned. Backed by copyright protection, what shall we do to generate the copyright value of films on top of the box office, to materialize that consumption upgrade?

　　"IPR protection over films is relevantly strict in China. We need to further develop film products given the copyright protection, extend the product chain, and eventually gain handsomely, both financial-wise and social-wise. This is our near-term goal," says Zhang Yi, chief analyst with iiMedia. "The blockbuster performance of the Battle at Lake Changjin and other Chinese films, to a certain extent, can be characterized as an upgrade of film-related consumption habits. Good returns at box office, to some extent, can feed film making, and eventually industry prosperity. In the meantime, copyright holders can not only get a pay day at box office, but see growing revenues in extended copyright products."

　　"Revenues of Chinese films still rely heavily on box office, making them not on par with their American counterparts. Short product chain, and one-dimensional revenue source leave Chinese film makers susceptible to insolvency," Chen suggests. "In addition to censor contents for policy compliance, the government shall facilitate growth of those companies with real potential to form a true product chain. The longer the product chain, the more support they get. Only this may bring solid results."

　　Telling Chinese stories right, generating the full social value and economic value of good films are the key to the development of the Chinese film industry. We are looking forward to the industry's better performance and greater contribution to the construction of a power strong in film making in the next five years.

Source:http://www.cipnews.com.cn/