时下影坛对电影的经济效益注重起来,这是件好事。“文革”前和“文革”中,国产影片生产不多,进口影片也有限,因而每部上映的影片几乎不存在亏本问题。“文革”后,国产影片生产数量上升,进口影片也有增多,加之电视对电影的冲击;因此,观众看电影不再是“饥不择食”,而是有选择地观看好的或适合各自口味的。这样便导致相当一部分影片观众少,甚至有的影片连制作成本也难以收回。亏本影片中,也不全是影片质量差,如新一代导演制作的“探索片”就是如此。虽然这些影片中的《黄土地》、《大阅兵》、《盗马贼》等在重要的国际电影节上获过奖,为中国电影走向世界立下功勋,但也被斥之为“赔钱货”。新片《孩子王》虽在国内仅卖出两个拷贝,可它在去年首届中国电影展的58部参展片中,居国外订购拷贝数首位(见3月2日《文化艺术 Nowadays the film industry pay attention to the economic benefits, this is a good thing. Before the “Cultural Revolution” and during the “Cultural Revolution,” domestic films were produced in small quantities and imported films were limited. Therefore, there was almost no loss at all for each film released. After the “Cultural Revolution”, the number of domestically produced films increased and the number of imported films also increased. Coupled with the impact of television on the movies, audiences were no longer watching films “hungry” but selectively viewing good or different tastes. This will result in a considerable part of the audience of the film less, and even some films even the production costs are difficult to recover. Losing films, nor is the film quality is poor, such as a new generation of directors produced “exploration film” is so. Although these films such as “Yellow Land”, “Parade” and “Pirates of the Horse” won prizes at major international film festivals, making meritorious contributions to making Chinese films to the world, they were also repudiated as “losing money.” Although the new film “King of Children” only sold two copies in China, it ranked first in the number of 58 copies of the first Chinese film exhibition last year (see March 2, "Culture and Arts