More on gov’t financing

In Uncategorized on April 9, 2010 at 12:28 am

From Shanghai Daily:

China’s film makers derive 90 percent of their revenues from ticket office. In contrast, the share for their Western counterparts is only 30 percent – the other 70 percent comes from derivative products like toys and music, according to Han.

“This means that China’s filmmaking industry chain is not complete and financing for developing derivative products is urgently needed,” said Han, adding that his company is actively preparing to go public.

These comments from China Film Group chairman Han Sanping after the Chinese government announced “it had issued a national policy guideline to boost financial support for the country’s cultural industries”.


Tang Wei is back

In government, stars on April 5, 2010 at 3:23 am

Mainland star Tang Wei 湯唯, who was banned from Chinese cinema after exposing too much flesh in Lust, Caution 色戒, has reared her not-too-ugly head at the Hong Kong International Film Festival. The Wall Street Journal reports that Tang “drew applause from the audience when she displayed the considerable Cantonese-language skills she also demonstrates in the movie.”

Soft exports

In government, markets on April 4, 2010 at 5:08 pm

The explosive growth of China as both a film market as well as a source of domestically-targeted film production receives the bulk of the attention these days in the film world. Another aspect deserving of appreciation, however, is the growth of China as an exporter of movies. This week alone will see a Chinese movie week premiere in Damascus, Syria, as well as a Chinese film festival in New Delhi.

Numerous factors underlie this expansion. In a general sense it is due to the world’s increasing interest in China — both as the now-accessible forbidden kingdom, as well as a realpolitik entity taking greater spotlight on the global stage.

The second (and most important) reason is the increasing quantity and quality of film production in China and between China and international film partners.

And thirdly, China’s government is actively pushing its film industry to modernize and privatize. Despite its sometimes bumbling attempts at soft power, Beijing is keenly aware of the power of cultural influence, and has sought to promote Chinese culture abroad.  (Its bold initiatives at funding Chinese language-programs abroad has even drawn ire in some quarters.)

The China Film Group a few months ago gave a vague outline of its ambitious policy, saying that “the export sector needs to be run by private companies” and that eventually “the government will withdraw from the market.”