![]() The overall statistics for the Chinese film industry this year are outstanding compared to the rest of the world. It seems the downward trend in theatrical film production is likely to continue as more films move to online releases (see Figure 1).Ĭhange in the number of screens from 2010 to 2020 (in units). This was down 37.5% from previous years ( China Film News 2021). Combined with animation, science and educational films, and documentaries and special films, a total of 650 domestic films were issued with public screening licenses. There were 531 feature films produced throughout the year. 1 Data Interpretation: The Best Results with the Greatest Difficulties 1.1 Production: Declining Output, Stable Qualityįilm production in 2020 continued the basic trend of declining numbers that had marked the preceding two years but was of course marked by the dramatic impact of the epidemic. This reveals that the Chinese film industry and film market were the first to be revitalized across the world. China became the leader of the global film market during this peculiar year. Ultimately, 2020 delivered 20.4 billion RMB in annual box office returns in just 187 days of running time. Completed in just over two months, the making of the film Sacrifice (Jin Gang Chuan, 2020) returned confidence to Chinese film production. This proved that audiences are still attracted to movies after the pandemic. Over the National Day holiday, there were nearly 4 billion RMB in box office returns across the county. One month later, the film The Eight Hundred (Ba bai, 2020) signaled the renewal of the Chinese film market when it achieved box office returns of over 3 billion renminbi (RMB). On July 20, cinemas began to open step-by-step under stringent prevention requirements. Central and local party and government agencies at all levels launched a series of policies to reduce the pressure of this catastrophe. Numerous film crews stopped working, and the film industry had to wait for a turnaround. The unexpected onslaught of the coronavirus disease 2019 (COVID-19) pandemic turned the usual hot season for the film industry during the Spring Festival to ice. ![]() Like other film industries around the world, the Chinese film industry experienced an extraordinary year in 2020. It also became urgent to improve the film industry system, the product system, the market system, and the box office window system. With box office returns approaching a ceiling, it has become more urgent to stabilize the quality of top films, enrich and enhance the competitiveness of genre films, and strengthen the theatricality of art films. Where the “Matthew effect” of accumulated advantage is much more acute in the film industry, a more diverse distribution approach has emerged in the field of new media. Despite shrinking market space and declining film production during 2020, the industry produced films that remained diverse in genre and subject. This was because the government launched a return-to-work policy, the capital market became more rational, the integration of film companies accelerated, the film industry model trended toward centralization, and market structures underwent deep adjustments. Across the world, the Chinese film market was the first to recover and, as a result, assumed a leading position. The influence of the coronavirus disease 2019 pandemic impacted the global film market in 2020. Her research interests include audiovisual translation studies, film history and queer studies. Her translation of this academic paper is supported by the China National Social Science Major Research Project “General History of Film Translation in China” (Grant number: 20&ZD313). Her research interests include film and television communication, media economy and film industries studies.Ĭommunication University of China, Beijing, Ye is an MA student in the School of Foreign Languages and Cultures at the Communication University of China. Yanbin Sun is a lecturer at the Management Department, Beijing Film Academy. ![]() He is the vice-chairman of China Film Association, China Literature and Art Critics Association and Beijing Film Association. His research interests include film and television communication, mass media and cultural industries studies. Hong Yin is a professor at the School of Journalism and Communication, Tsinghua University. Published by De Gruyter NovemAnalysis of China’s Film Industry in 2020
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