A large battle golden week literary film still is a cup of soup – Shaanxi Channel – people.co-candy candy

A large battle golden week   literary film still is a cup of soup – Shaanxi channel — people.com.cn original title: fighting large golden week literary film still is a cup of soup in the original title: large golden week literary film still is a cup of soup according to the China sound "center wide news" reported that in May this year, producer Fang Li as the famous director Wu Tianming’s "bainiaozhaofeng" to kneel down and kowtow to improve theater row piece rate of the incident has aroused public opinion to create a great sensation, the survival status of tablets attention. Fang is not the first person to call the screen space for literary and artistic films. The 2015 movie "intruder" was released, director Wang Xiaoshuai had to row piece low and angry accused of posting cinema, said: "this is a commercial film art film the best of times, the worst of times". In the United States, France and other relatively developed countries in the film industry, the film is also embarrassing situation. But the relatively mature mechanism and nurturing measures, together with the special art cinema, make these films still have a space to survive in the market. Now, this kind of art cinema also appeared in the mainland, but low profit or even zero profit "," lack of new sources that become their business problems. Not long ago, the director of Bi Jiangxi’s "roadside picnic" won the golden horse award. Anhui Mount Huangshan citizen Yin Xiao searched all over the city, only in a remote area of a cinema, saw the midnight screenings. He has always been fond of literary films, already accustomed to, even in the schedule, want to see this kind of film also need to work hard. When he looked, there were no more than ten people in the theater. Beijing University of professional writers Xiao Yang said, because the need to see some kind of movie art learning, they will choose to download or share the network forum, or rent a dish, "after all popular art films as commercial film is much smaller than the cinema, put it in the afternoon and night time." In May this year, director Wu Tianming’s "bainiaozhaofeng" was released at the beginning of the row of film is less than 1%. The box office soared from 3 million to 80 million, but there were fewer and fewer literary films. In the Chinese film market impact 60 billion mark of the year eager for a fight, released the "Yangtze River map" first day box office is only 200 thousand, "total box office" but also about 6000000 roadside picnic. On the surface, the decision making power of the chip removal rate is in the cinema. According to the content, the manager will schedule the schedule, the cast made preliminary judgments, after the release of the film according to the attendance at any time; but in essence, is dominated by the market row. Cinema managers have box office tasks and profitability indicators, all of which are related to the face value and the proportion of accounts. According to the Convention, the domestic movie theater box office split ratio does not exceed 50%, even the same attendance, the fare is 120 yuan 3D and 50 yuan of film art film, the profit rate is higher or lower, it is self-evident. Stellar international Cineplex Anhui store manager Liu Yang said, "true 90 or 00 now rarely to see art film, he will see the" Captain America ". We will have the requirements of the film company, the large cinema companies generally cooperate with the film side, the film will have a demand for the cinema. Involving the strategic east of the company 大片激战黄金周 文艺片依旧难分一杯羹–陕西频道–人民网 原标题:大片激战黄金周 文艺片依旧难分一杯羹   原标题:大片激战黄金周 文艺片依旧难分一杯羹   据中国之声《央广新闻》报道,今年5月,制片人方励为著名导演吴天明遗作《百鸟朝凤》向影院下跪磕头求提高排片率的事件轰动一时,也唤起了舆论对文艺片生存状况的关注。其实为文艺片呼唤银幕空间的,方励并非第一人。2015年电影《闯入者》上映时,导演王小帅就曾为排片低而一怒之下发文指责院线,说“这是商业片最好的时代,文艺片最坏的时代”。   在美国、法国等电影产业相对比较发达的国家,文艺片同样是处境尴尬。但相对成熟的机制和反哺措施,加上专门的文艺影院,让这类电影仍然在市场中保有一份生存的空间。眼下,这类文艺影院也在内地悄然出现,然而“低盈利甚至是零盈利”、“片源匮乏”这成为困扰它们的经营难题。   前不久,毕赣导演的《路边野餐》获得金马奖。安徽黄山市民殷骁找遍全市,才在偏远地段的一家电影院,看到了午夜的场次。一向爱好文艺片的他,早已习惯即便是在档期内,想看一部这类片子也需要费点功夫。他看的时候,剧场里面总共不超过十个人。   北京某高校编剧专业的小杨坦言,因学习需要看某些文艺类电影,他们会选择网络下载或者论坛分享的方式,或者租碟子,“毕竟文艺片受欢迎程度跟商业片比确实要小很多,院线把它排在午夜时段。”   今年5月,导演吴天明遗作《百鸟朝凤》上映之初,排片不足1%。制片人方励下跪求排片后,票房从300万飙升至8000万,然而,能这般逆袭的文艺片少之又少。在中国电影市场为冲击600亿大关摩拳擦掌之时,年内上映的《长江图》首日票房仅20万,《路边野餐》总票房也不过600多万。表面上,排片率的决定权在院线。排片经理会根据内容、档期、演员阵容等做先期研判,电影上映后再根据上座率随时调整;但本质上,排片仍由市场主导。院线经理有票房任务、盈利指标,这些数字无一不与票面价值和分账比例有关。按照惯例,国产影片影院方的票房分账比例不超过50%,即使上座率相同,票价120元的3D电影和50元的文艺片,利润率孰高孰低,不言而喻。   星美国际影城安徽某店经理刘阳透露,“真正90后或者现在的00后很少去看文艺片,他都会看《美国队长》。我们排片公司会有要求,大的院线公司一般都跟片方会有合作,片方会对院线是有需求的。涉及到公司战略性的东西,领导决定说哪个片排的多,哪个片排得少。”   影评人李星文认为,《百鸟朝凤》票房反转,说明好成色的文艺片亟待与深埋民间的观众需求对接。这个对接,需要通过文艺院线来实现。可惜眼下国内这片“守望之地”寥寥。百老汇影城是国内最早专设文艺影院的院线之一,但很少有人知道北京东直门某个居民小区附近,有个叫做当代MOMA的艺术影院。谈起影院的经营情况,北京百老汇电影节目与宣传推广经理杨扬说,他们想出了在排片时偶尔穿插商业大片,“反哺”文艺电影的做法,“放的商业片还是有一定比重,不能指望文艺片只靠自己,就能把自己养活起来。从高层的想法上来说,就是为了给影迷看更多的东西,不是说开这家影院为了赚钱。”   “地标影院”是美国最大的艺术院线。目前,美国有超过4万块银幕,“地标影院”占了其中268块。虽然小众,但分布全美27个城市的这条院线仍然靠票房、餐饮销售自负盈亏,生存了下来。同百老汇一样,沃美院线在北京也专设了艺术影院。谈到影院利润率,沃美院线北方区经理赵勇说了这样一句话:“确实情怀大于盈利”。   在赵勇看来,“其实北京还是有一波文艺片忠实观众的。然而大部分影院百分之七十到八十的排片还是会留给商业片。也正是因为艺术影片关注度比较低,而好的情感传达、真诚态度的艺术影片,却得不到面向观众、口碑传播的机会。”(记者何源) (责编:邓  楠、任丽虹)相关的主题文章: