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市场每天都在清点沾着血迹的票房数字,大众和媒体热衷于流行电影的话题讨论,但很少有人去关注这些话题和数字的最初源头——电影的出品方。在传统的制片格局中,我们常常一分为二地表述为——国有集团阵营以及民营制片阵营,前者以手握分账大片发行核武器的中影以及华夏为代表,后者则推举华谊、博纳、光线为三巨头。关于这些行业“旗舰”、“大佬”的故事已经充斥着各大媒体的版面。本刊的专题策划则避开这些话题的光环,着眼于本土制片新力量的发掘,这些力量或者是本年度黑马影片的主导片方,或者在近两年内搅动舆论热潮并持续发力。我们希望发现新力量,开启新思考,以回应这个风云激荡的时代。
Markets routinely count the number of bloody box-office receipts every day. The public and the media are keen on the discussion of popular movies, but few focus on the origin of those topics and numbers - the producer of the film. In the traditional production pattern, we often split into two states: the camp of state-owned groups and the camp of private film production. The former represented China Film and Huaxia, which hold large-value distribution of nuclear weapons in their hands and the other, Huayi, Beaune, the light for the Big Three. About these industries “flagship ”, “big brother ” story has been filled with the major media layout. This issue of thematic planning is to avoid the aura of these topics, focusing on the discovery of new forces in local production, these forces are either the leading filming party for this year’s dark horse film or in the past two years, agitating public opinion boom and sustained force. We hope to find new forces and start new thinking in response to this era of turbulent times.