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In recent years, the Chinese film industry has been on a fast track to industrialization while hastening its steps to the international market. Industry insiders recently gathered at a side event of the 13th Beijing International Film Festival, co-sponsored by the festival organizer and China Film Archive (China Film Art Research Center), to share their wisdom on these issues.

Honing quality products

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Three Chinese films, The Wandering Earth II, Hidden Blade and Full River Redlanded in North American theaters right after their premieres in China during the spring festival film season, and would win both the viewer critics and box office there.

A factor instrumental in dictating Chinese films" outbound journey is the quality of film contents. \"Contents is King\" is a tenet preached by filmmakers. A good script allows a film to travel further. Fu Ruoqing, Chair of Board and General Manager of China Film Corporation could not agree more. He emphasizes that a good film must excel in quality and share universally-accepted empathy and values, which are the fundamental conditions for Chinese films to go global. For example, the reason that The Wandering Earth IIhas done well in the oversea market is on the one hand, the market size of science fiction films has been always been enormous; on the other hand, the film itself is a mega production. His further analysis shows that the production of the film employed strict quality control and constantly refined content details. One thing in particular - the value of a community with a shared future for mankind portrayed in the film easily struck a chord with oversea moviegoers.

In addition to production, distribution is another important part crucial for films to go global. Fu goes back to example of The Wandering Earth II.Chinese producers" usual practice when it comes to oversea distribution is partnering with promotion companies run by oversea Chinese, entrusting them to promote and distribute their films. The Wandering Earth II, however, chose an oversea professional distributor, who are more experienced in promotion, screening slot arrangement and market planning, all of which impact the box office directly. The choice would be proven right by facts. One month after its oversea premiere, the film was still on in some theaters. As of now, it has amassed over 100 million yuan in oversea box office.

Refining outbound route

In recent years, Bona Film has produced multiple blockbusters like Battle at Lake Changjin and Hidden Blade. Chair of Board Yu Dong has his own thinking of Chinese films" going globaland staying there. He believes a key symbol indicating a country"s successful shift from a volume film maker to an influential one is that domestic films dominate the domestic market. In China, homemade films have been maintaining occupation of over 60% of the home market for over 10 straight years.

While working intensively at the domestic market, Yu has his eyes on the oversea market too with his firm"s multiple films exported through copyright trade. He summarizes Chinese films" going global experience into a three-step tactics: First, cultivate international partners. Invite global businesses to Beijing. Let them see and select Chinese films at the Beijing International Film Festival. Second, intensify international cooperation. Collaborate with foreign film makers, invest together and share distribution channels with them and finally enjoy profits together. Third, nurture proven international film seasons. This is the most important step for Chinese films to truly integrate into the international market. The Spring Festival film season, in particular, is a golden opportunity for Chinese films to go global. Our Chinese film professionals shall all work towards making this season flourish. In the meantime, Chinese films" going global shall prioritize IP protection. \"Taking heed of copyright protection can guard our films" outbound journey, allowing our films to travel faster, wider and longer,\" He adds.

Chinese director Lu Chuan is behind many modern classics like Beijing 2022, Mountain Patrol, Born in China, The Last Supper and City of Life and Death. Among them, both Mountain Patrol and Born in Chinapaint pictures of the contemporary China and was shown overseas. Born in China itself hauled in 14 million U.S. dollars at box office in North America.

Regarding how to use films to tell Chinese stories right and spread traditional culture, Lu is not shy of ideas either. At the production stage of City of Life and Death, it took him and his team two and half months just to translate English subtitles. He invited a British filmmaker to translate the script sentence by sentence. Tremendous efforts were also put into the drafting of the English script for Born in Chinato ensure quality. \"When I heard the laughter from parents and children in a theater, I felt very relieved. At that moment, I knew only a good work can get into people"s hearts. In my future creations, I will only make quality films and use them to tell Chinese stories right,\" Lu concludes by making his statement. (by Li Wei)

近年来，中国电影产业化加速，向国际推广的步伐也不断加快。近日，由北京国际电影节组委会、中国电影资料馆（中国电影艺术研究中心）主办的第十三届北京国际电影节“电影强国产业论坛——用电影语言讲好中国故事”在京举办，多位电影人共同探讨了中国电影内容创作与“出海”路径。

打磨优质作品

今年春节档，《流浪地球2》《无名》《满江红》这3部中国电影均实现了在北美的同步上映，且收获了不错的票房和口碑。

中国电影能否“走出去”，内容质量是关键。“内容为王”一直是影视创作的宗旨，好剧本能让电影走得更远。对此，中国电影股份有限公司董事长、总经理傅若清深有同感。他强调，好的电影一定是质量过硬，有广泛的认同感和价值观，这是国产电影“走出去”的基本条件。他以《流浪地球2》为例分析，该电影之所以能够在海外“立得住”，一方面是科幻题材电影在全球有很大的市场；另一方面是该部电影为大制作。他进一步分析，在制作中，《流浪地球2》严把质量关，精心打磨内容，尤其是影片所体现的人类命运共同体的价值观，引发海外观众共鸣。

除了内容制作，发行也是电影“走出去”非常重要的一环。傅若清仍以《流浪地球2》为例分析，一般而言，国内制作方会选择与海外的华人宣传公司合作，进行电影宣传发行，而此次《流浪地球2》则选择了海外专业发行公司。因为在宣传、排片、布局等方面，海外专业发行公司更有经验，这对票房有直接的影响。事实证明，他们的选择是正确的，《流浪地球2》在海外上映1个月后，仍在一些电影院上映。截至目前，《流浪地球2》海外票房已经超过了1亿元人民币。

细化输出路径

近年来，博纳影业出品了《长津湖》《无名》等多部爆款电影。对于中国电影“走出去”“走进去”，博纳影业董事长于冬认为，电影大国向电影强国迈进，有一个重要标志，即本土电影在本土市场处于主导地位。在我国，国产电影已经连续十余年市场占有率超60%。

在深耕中国国内市场的同时，于冬还将目光投向国外市场，公司出品的多部电影实现版权输出。对此，于冬总结中国电影“出海”经验，即“三步走”思路。第一步，培养国际合作伙伴，让全球商家到北京来、到北京国际电影节来看中国影片、选中国影片。第二步，加强国际合作，与国外电影制作公司达成合作，共同出资，并分享发行渠道，实现利益共享。第三步，打造成熟的国际档期，这也是中国电影真正融入世界市场最重要的一步。特别是春节档，是中国电影“走出去”的好时机。他建议，中国电影人应着力打造春节档档期。与此同时，中国电影“走出去”还要注重知识产权保护。“重视版权保护才能为国产电影‘走出去’保驾护航，让电影走得更快、更广、更长久。”他表示。

中国导演陆川曾执导《北京2022》《可可西里》《我们诞生在中国》《王的盛宴》《南京！南京！》等多部电影作品，其中《可可西里》《我们诞生在中国》充分展现当代中国，都曾在海外公映，尤其是《我们诞生在中国》在北美取得将近1400万美元票房。

如何用电影讲述中国故事，传播传统文化，陆川也有自己的想法。在电影《南京！南京！》输出过程中，他和团队耗时两个半月进行电影的英文字幕翻译工作，特别邀请英国制片人对电影台词进行逐句翻译。在制作电影《我们诞生在中国》时，同期对英文版剧本进行反复打磨，力求保证作品质量。“当听到电影院里家长们和孩子们的欢声笑语，我的心终于放下了。这一刻，我认识到，好的作品才能走进观众的心里。在今后的创作中，我会继续创作精品电影，用电影讲好中国故事。”陆川表示。（李伟）

（文章来源：中国知识产权报）

（编辑：邵京京责任编辑：吕可珂 审校：崔静思）

（中国知识产权报独家稿件，未经授权不得转载）