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At present, the strong attraction of China movies to outside funds is unstoppable.

　 　 Special feature of 1905 film network　At present, the movie market is the most "not bad money" in China: the box office output has increased by more than 30% for six consecutive years, and the total amount is expected to exceed 30 billion this year, achieving a 200% increase in the number of people watching movies. Under such an industrial background, funds from all walks of life are scrambling to enter the film and television industry, and film companies are constantly expanding their business maps. As of the first three quarters, the total capital operation value of the film and television industry has already reached tens of billions, far behind the "seemingly amazing" box office estimate. It can be said that capital is constantly changing the pattern of China films.

　

　 　Now the question is, what kind of influence does such frequent and huge capital operation have on the future development of China films?

　

Multi-layout of "Internet-based" M&A and expansion of film industry

　

　 　 In the first three quarters of 2014, Huayi Brothers made frequent moves in the Internet field: in June, it acquired the selling network; In July, the online game strategic plan was announced at China Joy (China International Digital Interactive Entertainment Exhibition); In August, the new media platform Star Shadow Alliance was launched to develop fan economy … … In response to these attempts, Wang Zhonglei, president of Huayi Brothers, responded in an industry forum: "With the advent of the Internet era, Huayi’s corporate structure and business layout are bound to change. We need to constantly strengthen inter-industry cooperation to adapt to the development trend of the network economy. "

　

　 　 At present, Huayi Brothers is deploying its interactive entertainment business group. In fact, as early as four years ago, they began to target the Internet industry for multi-party layout. In June 2010, Huayi acquired a 22% stake in Palm Technology for 145 million yuan. In 2011, Tencent was introduced as a strategic investment partner. In 2012, Huayi International, a wholly-owned subsidiary, invested in Domi Music. In 2014, Huayi once again spent 672 million yuan to control Guangzhou Yinhan Technology. For the purpose of acquisition, the company explained: "Improve the layout of the industrial chain and bring new revenue growth points to both parties."

　

　 　 This model has been widely recognized in the process of the integration of traditional film and television companies and the Internet. In addition to Huayi Brothers, Enlight Media also successively invested RMB 160 million and RMB 230 million in two online game companies, Fun Life and Xianhai Technology, and then spent RMB 176 million and RMB 208 million to win the hot air network and animation company Guangzhou Blue Fox. Li Li, chairman of Heli Guang Chen International Culture Media, said that for traditional film companies, the space of the online market is huge: "In 2013, the box office revenue of several major film companies was 4 billion yuan, while the Internet industry only brought related benefits from the game industry chain, which exceeded 80 billion yuan."

　

The pace of industry integration of film and television companies to "de-film" has accelerated.

　

　 　 On October 23rd, Huayi Brothers officially announced its third quarter 2014 financial report. It shows that the company’s film business income dropped by 74.76% compared with the same period of last year, but the overall operating profit maintained a growth of 13.07%. These data are enough to show that Huayi Brothers is fully implementing the development strategy of "de-filming". Wang Zhonglei said that Huayi Brothers expects to rely on the expansion of downstream industries to bring about the brand’s liquidity, and on the basis of maintaining the two core advantages of film content and star-making ability, accelerate the pace of business integration of the company.

　

　 　 China’s film industry needs to own and improve its industrial chain if it really wants to compete with Hollywood. And a complete industrial chain means that online and offline must develop simultaneously. On the occasion of its 20th anniversary, Huayi Brothers announced the opening of "Huayi Xiaogang Feng Film Commune" and officially launched the cultural tourism project. Light Media, which urgently needs to explore business transformation, has also planned to spend 10 billion yuan to build "China Film World" in Shanghai. However, compared with the "Oriental Film Capital" built by Wanda Group, a subsidiary of Wanda Pictures, which cost 50 billion yuan, it was immediately "dwarfed". If Leonardo DiCaprio, Nicole Kidman and other Hollywood superstars were invited to help open the red carpet a year ago, it still belongs to the local tyrants’ school, then the film and television base under construction, which integrates the comprehensive functions of film and television location, film and television production, film and television exhibition and film and television tourism, has begun to take on the momentum of "Oriental Hollywood". As a pioneer in the combination of film and real estate, Wanda has identified film production base and cultural real estate as new areas of core functional industries, attracting domestic and foreign film and television companies to settle down, which indicates that China film industry has taken a key step towards Hollywood’s mature development layout model.

　

　 　 In the third quarter of 2014, the performance of LeTV and its LeTV film industry was quite eye-catching. Its own network DNA allows LeTV to save the link of "internetization" and focus more on downstream industries. While relying on movies such as TV and TV to seize the market share of the big screen, we have completed the construction of the whole product line of super tv. The performance report shows that the sales volume of its super tv products has increased rapidly, and the ecological effect has been highlighted, which has helped the company to establish a diversified business model of "diversified content+diversified channel layout+diversified users+diversified income" and promoted the company’s profit to increase steadily.

　

Outside the film industry, financial capital and traditional enterprises have entered the market one after another.

　

　 　 Not only do film and television companies choose to diversify their industry layout and obtain capital support through different channels, but a large number of financial capital and enterprises in traditional industries also prefer this industry. On the one hand, the booming film and television industry in recent years makes investors expect to get high returns in a short time; On the other hand, it also shows the urgent transformation needs of some traditional enterprises. Therefore, compared with the situation in the same period in 2013, most of the industry mergers and acquisitions were led by tycoons such as Huayi Brothers and Light Media, the trend of film and television resources integration spreading to the outside world in 2014 was quite obvious.

　

　 　 In the past, PE(Private Equity Private Equity Fund) has been simply seeking cooperation with initial public offerings. Huayi Brothers, Huace Film and Television and other companies have successfully listed through this cooperation model. Nowadays, with the expansion of the film and television industry capital market, PE has gradually withdrawn from IPO business, and the concept of "M&A fund" has begun to rise, and it is not difficult to find the figure of cultural and entertainment industry. Relevant people in the industry pointed out that under the premise that the expected profit is optimistic and the industrial income is growing, film and television are very competitive in attracting investment in the financial industry. Compared with the long capital freeze period and fluctuating yield of IPO, the return on investing in movies is obviously faster and much higher than the former.

　

　 　 According to statistics, as of press time, the total value of capital operation involving the film and television industry in 2014 has exceeded 10 billion. In addition to the financial industry mentioned above, many traditional enterprises have begun to choose "cross-border" under the influence of factors such as the investment profit rate and the decline of main business profits. In August, Zhongji Holdings, which transformed from the traditional manufacturing industry, spent 1.5 billion yuan to bring Confucianism Xinxin Film into the door; In September, Royal Dairy officially issued an announcement to purchase 100% equity of Yujia Film and Television for 205 million yuan; During the Golden Week of November, Beijing tourism was in the limelight for a while because of investment. In the end, the box office of this film broke through the 1.1 billion mark, and another work that was previously released also achieved good results. The industry estimated that Beijing tourism could gain 100 million yuan by relying on the transformation of film and television this year, which more than tripled the net profit of 32 million in the same period last year. Judging from the company’s fixed-income plan, they will also plan to raise 3.3 billion yuan, of which 2.52 billion yuan will be used to acquire three cultural media and brokerage companies, completely shifting their business from a single tourism service to paying equal attention to tourism and film and television culture.

　

High return leads to capital aggregation, cross-border financing enhances professionalism and avoids risks.

　

　 　 On the one hand, the traditional industry is caught in the predicament of slow development, and on the other hand, the film and television industry is facing the opportunity of market expansion. At present, the strong attraction of China films to foreign funds is unstoppable. For those investors who have fought many battles, what is there in the film circle that is worth throwing money into?

　

　 　 Gao Jun, general manager of Guosheng Film, pointed out in an interview with 1905 Film Network: "What do these outside investors see? It is a return of 10 million yuan and 300 million yuan. It is a myth that investing 30 million yuan to earn 1.2 billion yuan. In contrast, the investment prospects of other industries are much dimmer, which also makes China’s film and television industry form a capital aggregation effect. " However, Gao Jun also admitted that most irrational investments that lack the guidance of professional teams will become bubbles: "The annual output of movies can reach 700-800, while only 200-300 are in the cinema. Even if you enter the cinema, it is not 100% profitable, basically following the 2: 8 law, and only 20% make money. " About three years ago, all kinds of hot money poured into the film circle, and all kinds of small movies came one after another. Gao Jun once revealed that a boss invested in a movie and lost all his money. He almost jumped out of the window in front of him. In these three years, after the survival of the fittest, those who blindly invest are not without, but the cakes left to them are getting smaller and smaller, and the industry is developing and maturing. Those who can stay must have their own advantages.

　

　 　 Abandoning the blindness of "no return" to enter the film industry, now hot money outside the industry begins to operate in a standardized way through formal capital channels and professional venture capital teams, which not only reduces investment risks, but also ensures investment returns. For example, in September 2014, LeTV Pictures, which ranked TOP3 in the mainland film company, completed the B round of financing with the participation of Hengtai Capital and other companies, with a quota of 340 million; In the same month, Huanya Media Group, a well-known entertainment company, jointly established Longhu Capital with SM Entertainment and Fubon Group to raise funds for international investors, with the first-stage target of 100 million US dollars (about 600 million yuan). The combination of film and television companies and capital is more standardized and systematic.

　

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　 　 Both foreign investors holding hot money and film and television companies in the ups and downs industry have seen the unstoppable trend of cultural industry upgrading behind the box office output of China films. For investors, this is an opportunity that the capacity and consumption power are still growing and the prospects are bright. In the eyes of film and television companies, the current rapid development of the industry provides them with an excellent platform to extend the industrial chain and broaden business channels. In a word, the box office revenue of 30 billion yuan can’t meet the rapidly developing market demand and space. Industry capital will realize the change from quantity to quality through the integrated operation of seizing every minute, and jointly help China film industry to mature.

　 　 　 　Original title: The dreamland of sound and painting and the innovation of content of domestic animated films.

　 　 　 　Since the release of domestic animated films, they have encountered polarized word-of-mouth differences. Undoubtedly, affirming and supporting the development of domestic animated films is the premise for everyone to comment on Legend of Deification. However, this kind of affirmation and support should not be influenced by the surging patriotic feelings, but should be rationally analyzed and thought within the scope of art. In this way, domestic animated films can find a correct and healthy way of sustainable development without being swayed by loneliness or being confused by sweet words.

Fantasy of sound and painting: the game between the advantages and disadvantages of animated films

Compared with live-action movies, animated movies show the characteristics of media materials themselves, showing a very personalized image style. With the continuous popularization and promotion of digital technology, animated films are more fluent and skillful in creating the illusion of sound and painting. Legend of Deification, which has been created for four years, gives the audience a brand-new "deity world" in visual presentation.

In the past, the Youdu Mountain, Guixu, Ladder and Beihai, which existed in myths and legends, were all rendered and displayed in an all-round way in a complete paragraph in Legend of Deification with a form of great visual impact. Compared with the daily connection brought by "truth" in live-action movies, animated movies rely on lines and color blocks to create an image world, which is more mysterious in the unknown world. In other words, even if it appears in a concrete form and image, people still can’t compare it with the objects in their lives because of stylized media materials, so they can maintain the integrity of a unique aesthetic world.

On the other hand, due to habitual cognition, animated films are often simply equated with cartoons. In fact, animated film is not only a children’s film, but also a film type. Look at the screening halls in Legend of Deification. Children under 14 are everywhere. This is unimaginable for a live-action movie. The decline in the threshold for watching movies means that animated films may have a far-reaching impact and are more conducive to the realization of cultural shaping functions. At the same time, animated films can also be strongly related to the popular secondary culture, and can be widely spread through the cooperation of various sub-groups. The illusion of sound and painting created by animated films is quite attractive to young people.

However, the high dependence of animated films on technology also produces instability. Once the technology is insufficient, it will lead to the rupture of the illusion of sound and painting. This kind of rupture is fatal to animated films, which will interrupt the closed state of the audience in the process of watching movies, thus greatly reducing the viewing experience. It can be seen that in Legend of Deification, technical support has done its best, and many scenes show the progress of current animation technology. However, there are still many obvious defects that need to be repaired. For example, when Jiang Ziya was running towards the market with a girl in his arms, his feet were suspended from the ground and lacked the necessary strength and speed. In addition, Jiang Ziya in close range also lacks the necessary upper body details. This is not consistent with the running state. In the absence of corresponding action performance, the vividness of the voice is embarrassing. Because when you obviously can’t see the running state of the character, there is a hard gasp in your ear. This embarrassment will inevitably weaken the attraction to the audience and eventually become the Achilles heel of the work.

New Content: Modern Narration of China’s Story

Telling the story of China well is the mission of contemporary literary creation. Legend of Deification is the modern narrative of China’s story. In the form of animated films, it presents a fairy tale circulating in the blood of China people’s culture. The film tells the story of Jiang Ziya, including not only the remolding of the characters, but also the overall adjustment of the story structure.

The image of Jiang Ziya, the hero, has gone through three stages: youth, middle age and old age. The work shows the process of Jiang Ziya’s belief from establishment, breaking to remolding, instead of directly appearing as the familiar image of "Jiang Taigong", giving the audience a new historical explanation. In addition, there are obvious differences in the image-building of other characters such as Su Daji, Zhou Wang, Nine-tailed Fox and Shen Gongbao. Su Daji has changed from an adult female image that has brought disaster to the country and people to an innocent girl image. All these, to name a few. The drastic change in image gives people a refreshing feeling.

In the story structure, Legend of Deification also has many bright spots. First of all, the focus of the film story is no longer Zhou Wang, da ji and King Wu, but Jiang Ziya’s repeated trials of personal beliefs. The story broke away from the original historical level and continued to speak to the mythical level. Cutting becomes an opportunity, and the key lies in whether to kill the nine-tailed fox. Jiang Ziya’s indecision is an individual’s vigilance against the loss of human nature in the process of evolving into the so-called "God". Secondly, the film takes the nine-tailed fox as the opponent’s strength, and displays it with rich colors, which endows it with tragic color to a certain extent, but from a more essential level, it is to help Jiang Ziya complete the experience of breaking the authority. When Jiang Ziya began to doubt whether "one person" and "sentient beings" were more important, the master who was originally in his heart had actually fallen off the altar.

The change of these two dimensions not only changed Jiang Ziya’s historical narrative, but also changed Jiang Ziya’s behavioral motivation as a mythical figure, and finally shaped him into a modern man. Not afraid of authority, keeping the original heart, became the summary of Jiang Ziya’s spirit.

Literary and artistic works are bound to change, but the changes need to be balanced. Changed, the character story is beyond recognition; Change less, and it’s the same old tune, which is boring. On the whole, Legend of Deification is a relatively successful work. However, there are still some shortcomings in theme refinement and narrative rhythm. The film takes Jiang Ziya’s "personal and ordinary people" inquiry as the core theme, which to some extent lacks resonance with the general audience. Moreover, Jiang Ziya’s inner changes in the film lack great ups and downs, and the protagonist can’t actively promote the progress of the story, which leads to the story being relatively dull, falling into the cliché of narrative procrastination and disordered rhythm, and weakening the strength of the characters. In addition, too many big scenes and a little tired relationship construction make the story telling slow and heavy. This enlightens us that, for China animated films along the way of Princess Iron Fan, Making a scene in Heaven and Lotus Lantern, with the support of rich historical and cultural resources and advanced digital technology, we need to continue to work hard and strive for perfection. (Author Teng Xiaojuan, a lecturer in college of nanjing normal university)

As is known to all, Wu Yifan has a good time crossing borders.

At first, Wu Yifan was not named Wu Yifan, but Li Jiaheng. When his parents divorced at the age of 10, he immigrated to Vancouver, Canada with his mother, and then changed his name to Wu Yifan, which means "life is neither complicated nor extraordinary".

It was probably from that moment that the compass of fate began to turn.

Basketball player, Korean pop idol, film and television actor, hip hop singer, trendy brand founder, there are countless labels attached to him. If there is a Serial Entrepreneur, then he is a continuous "crossover".

Today, he is going to play drag racing with Jason Statham at the Bird’s Nest again. The collision between the fierce man and the little fresh meat quickly attracted the attention of the melon-eating crowd, and also made people dig out Wu Yifan’s original love for racing.

Wu Yifan’s love for racing is certainly not overlooked.

It is rumored that his appearance fee is as high as 120 million yuan, but Mercedes-Benz A "tricked" Wu Yifan to the event in August last year with a test drive invitation letter for 1 cent. At that time, he was by no means simple to show his face. He also changed into a special racing suit and drove a C63A on the track.

What’s more exaggerated is that after the release of Wu Yifan’s new song "Coupe" MV at the end of last year, he said in an interview with Billboard: "I brought all 10 of the MV, my personal car, and they look very cool."

Some people say that "ten things are not as good as three, and three things are not as good as the same." Wu Yifan’s three days of fishing and two days of drying the net is a manifestation of "not doing his job properly". As everyone knows, this is an important reason why it has become a top traffic.

In fact, in addition to celebrities who like to play crossover, the way car companies "deserted" can also be described as eclectic.

Such as celebrity endorsements.

In recent years, there are not a few stars who have "gotten on the bus": Hu Ge has become the "co-production" partner, Gu Tianle and Guan Xuan have joined hands; Li Jian is enough to stand by, and Zhiling’s sister’s endorsement has brought a touch of elegance to XC40; and the most talked-about recently, Jason Statham has become the spokesperson.

For automakers, seeking celebrity endorsements may have little effect on "bringing goods".

After all, it’s not lipstick, and it’s not that Li Jiaqi can boost sales by shouting a few omg words, but car companies still choose to play "cross-border" in various ways, the purpose of which is to "get out of the circle".

In the information age, "out of the circle" is often more important than "rating". "Out of the circle" brings higher visibility and more traffic. To sum up in an Internet saying, this is calledFollowing the ecological layout, sooner or later you will encounter trends…

The significance of "out of the circle" is so great, and it is not difficult to understand why.

On the one hand, behind the development of the market, the rise of new consumer groups, their consumer demand has spread to more and more fields, the demand for any product is not just to meet the basic functional needs, but to reflect a lifestyle or personal value or their own taste.

On the other hand, in the market environment, the competition between brands determines their strength.

The era of one company, one brand, and one product going it alone is long over, because any excellent brand, due to the singleness of its characteristics, is more affected by "externalities" and has weak resistance to strikes.

But if it is combined with other cross-border, it can effectively improve brand recognition and win more living space for itself in the era of "random flowers and increasingly fascinating people" Internet celebrities.

Wu Yifan, who can play a little trick in everything, has grasped the trick of "out of the circle" and chose to spare no effort to brush "familiar" in all walks of life. He is undoubtedly a shrewd artist; and in marketing, "doing things" car companies, through "cross-border" to improve their presence, are undoubtedly shrewd enterprises.