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Chinese cinema: business on "soft power"

37-th Moscow International Film Festival, although not attracted, for obvious reasons, special attention to world superstars, however, has become a very interesting event in Russian cinema. And above all, in my opinion, because the participation of China in it has become more visible.

Chinese cinema: business on "soft power"

This statement looks paradoxical, since in the main competition tapes from China were not listed.

But it is symbolic that the film of the opening of the festival was the magnificent Chinese-French ribbon "Totem of the Wolf", which was shot in China, in Chinese novel, with Chinese actors and with Chinese money. The jury chairman of the main competition of the Moscow Film Festival is the French director Jean-Jacques Annot.

China was represented in the documentary film competition with the painting "Young Patriot", also shot with the French. Another non-game tape from China, the Chinese Mayor, was shown as part of the Free Thought film screening. Russian viewers also saw 6 films in the out-of-competition screening of production at the Sian Film Studio and director Wu Tianmin.

Perhaps someone such participation of Beijing in the Moscow Film Festival seems modest. But it is not. Chinese cinema today operates around the world without missing a single international film festival. He also participates in such regional festivals as “Amur Autumn” or “Pacific Meridians”, which take place in Blagoveshchensk and Vladivostok and are focused on the APR countries.

Cinematography for China today is not only an art, but also a form of business, as well as a means of promoting a positive image of a nation abroad. The cinema from the most mass art in the Middle Kingdom has, on the one hand, become a means of multimedia communication, and, on the other, has become an important tool for the realization of "soft power" on a global scale. Until now, only Americans have been actively using this tool.

 Chinese cinema 21 century phenomenon - very promising. It intertwined culturological, image and commercial interests. Over the past three years, China has produced more than 500 film every year. In 2013, 531's artwork came out on the screens. Record was 2012 year, when the PRC studios produced almost 750 film. To date, China has become the world's second largest filmmaker, ahead of India, and second only to the United States.

 Five or six years ago, few people in China could predict such a leap forward. Specialists talked more about the crisis of the cinema, about the problems of searching for new, non-standard and interesting screenplays, original stories. Now the situation has changed radically.

Released spectacular action movies in genres Udan or Osia, Realistic epic tapes on popular novels. For example, "White deer valley", Telling about the dramatic life of several generations of Chinese in the 20-th century or the military tragedy"Remembering 1942 year"Popular director and actor Feng Xiaogang. There were their horror films. And even Westerns - "Draw land"37-year-old director Ning Hao, and a little earlier"Let the bullets flyDirected by Jiang Wen. The success of Jiang Wen's latest feat is to shoot an equally commercially successful sequelCarried away by bullets».

There is a feeling that the State Committee for Cinema, Television and Radio Broadcasting has loosened control over the activities of cinematographers. As a result, filmmaking has received new incentives.

Now, of course, it is quite possible, to a certain extent, and free-thinking. This can be seen in the example of the author's cinema, represented by a whole galaxy of brilliant directors such as Jia Zhangke, with the amazing drama "Touch of Sin," Lou E with the film "Blind Massage" or Diao Yinan with his social detective "Black Coal, Thin Ice." Criticism on the big screen is not just permissible, it is desirable, because the autopsy of social ulcers and their treatment is the driver of the development of a healthy society. One can not only encroach upon the constitutional foundations of the state.

The main trend of Chinese cinema is its strong commercialization, the orientation toward cooperation with Hollywood or European film companies.

Russian moviegoers, most likely, do not know that China along with the United States is listed as the official producer of such box-office blockbusters 2013-2015, as the military epic Rage with Brad Pitt, Transformers. The era of extermination "by Michael Bay," Iron Man-3 "," John Wick "with Keanu Reeves," The Loop of Time "with Bruce Willis," Superiority "with John Depp," Cloud Atlas "by directors Wachowski and Tom Pumpker, and also popular in Of Russia "The Seventh Son" by Sergei Bodrov, filmed in Hollywood. This is not the entire list. A little earlier were the "Pacific line" Guillermo del Toro, "People X", "The Expendables-2", "Resident Evil. Retribution "and others.

 Chinese businessmen continue to actively invest in the production of commercial films abroad, primarily in Hollywood, realizing that cinema is not only art or entertainment, it is also a commodity that can be earned.

They are also very attentive to the infrastructure of the film business. Two years ago, the Chinese corporation Dalian Wanda Group Co completed the purchase of the second largest American cinema operator AMC Entertainment Holdings, Inc. The deal is valued at $ 2,6 billion. The acquisition of a network of cinemas in the United States made the Chinese corporation one of the largest cinema owners in the APR. And in June 2015, the corporation acquired the largest Australian film distribution network Hoyts.

Specialists are convinced that in 2014, China played a leading role in the growth of the global film distribution market. World box office in 2014 year amounted to 37,5 billion US dollars. Compared to 2013, global box office volumes increased by 1,6 billion dollars, with 75 accounting for this percentage increase in China.

  One of my colleagues once said: “Cinema can be good, bad and Chinese.” It seems that this comic note ceases to be relevant. Chinese cinema is becoming international.

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