We still visit theatre, though domestic movies suck
Chinese movie market is on its way to be the most profitable one in the world, but will this be a ‘new normal’?
Eight Chinese young adults have shared their opinions, who are the main movie consumers in recent future. The good news is all of them find it necessary to visit theatre, while their opinions vary on domestic and foreign movies, censorship and rating system, and the current ecosystem of Chinese movie industry.
What does movie mean?
Generally speaking, movie means a lot to them. Some describe their feeling with poetic language, while some have clear awareness of industrial and political actions behind.
May, having worked in Chengdu for a year, says that "watching movie can amplify your own emotions, such as happiness, sweetness and sorrow, and that’s why I like it". Chengdu is predicted to be the next first tier city. This southwest city has managed to rank 5th in total film grossing city list, next to the current four first tier cities - Beijing, Shanghai, Guangzhou and Shenzhen.
For overseas student Tom, movie is a tool for gaining knowledge, because "it is straightforward and with lots of details". He has used it to learn about historical events and foreign cultures, as well as the pace of social development. While others have little interest over main-melody movies like The Founding of a Republic, he regards them as a chance to "know the ideology of our country".
Molly considers movie as "an important activity for relaxation", as it helps release pressure and can improve her mood. She says sometimes she "watch outrageously" even during semester, because she needs relaxing after "a tough day of studying".
After two years’ "fighting" in Beijing, Simon says now he would not watch movie at early evening, as it wastes precious time that could be spent on work. Meanwhile, he always thinks about the development of Chinese movie industry, and its potential influence on him – "does this mean movie industry will rise in China? Will more industrial parks be built? And how could this affect me? By now, all these things still seem faraway."
How do they choose movies?
Although all eight of them have watched at least 4 out of top 10 movies with highest box office records in mainland China, Avatar is the only movie that nobody missed.
Does this mean they prefer Hollywood action movies with spectacle? At least the marketers of Jason Bourne think so. This movie was only shown in 3D in most Chinese theatres in its opening week.
However, when asked about their standards for choosing movies, though blockbusters are still preferred in theatre, nobody mentions 3D as a decisive point. Instead, the story of a movie is quite important.
Living in Chongqing since born, Doug admits he finds less and less movies attractive, and he mostly watches old movies online, but "if the story is related to me and has the power to touch me, I will certainly watch it. Big stars and familiar teams are not a guarantee for my money, but you can say that I tend to choose movie with these features".
May agrees that there is no guarantee with the cast, as "even the greatest actor in the world could produce bad movies". She also mentions that, "I don’t like movies sensationalising their production stories behind the scene, and I consider that as moral kidnapping".
Many rely on movie feedbacks for deciding which movies to watch. Simon and Ray both say they will look at reviews and watch movies with good reputation, and Alison mentions "there are scores and reviews when you use mobile application to buy tickets, so it’s very convenient".
While admitting she can be attracted by a movie’s background story, Molly says she still rely on online reviews to decide whether watch it or not – "For instance, Big Fish & Begonia takes twelve years to produce, and I would like to watch it, but then I heard it’s not that good and I gave up."
Are theatres still necessary?
Back to the good news in the beginning, that all interviewees regard it as necessary to go to theatre for movie, even if techniques like virtual reality have had developed fast.
Ray, who lives in Nanchang, explains his answer straightforwardly, that "you cannot date on your smartphone. Theatre actually offers an opportunity for dating." Tom uses "networking" to describe his experience in theatre, that he meets friends there, instead of simply watching movies.
May has used a simile to express her opinion: "just like you still eat out, even if you know how to cook". Similarly, Doug compares watching movie to watching football games, that "though you can watch it on TV, lots of people go to the arena, because it’s the feeling that matters." He considers theatre as a public space, with special atmosphere that you can share with other viewers.
Simon has an opposite opinion on theatre’s atmosphere, that "home is a place for relaxing with friends, but in theatre, you can act recklessly and immerse in your own world." He continues that, "when in theatre, all of your senses are taken up by movie. Seat limit, other people around, wide screen, great audio effects, all these make up an atmosphere, which is just different."
"I’m pretty confident in theatre in the future, because this is a solid entertainment industry," says Molly. She thinks consumers will show their support for movies in the way of buying tickets, and "in return, theatres have more gimmicks for promoting, such as doing cosplay on premiere."
Alison, who has worked for a year in Guangzhou, holds a different opinion that she has no choice but to visit theatre, because of the inadequacy of entertainment - "we Chinese own only few entertaining methods. True story."
Summer and new year holidays rule?
It has been said summer and new year holidays are important periods for movie, just as the top 100 sold movies list suggests, December has seen most listed movies be released, while October least.
Almost everyone mentions summer and new year holidays as important periods for appreciating new movies, but their reasons are quite different.
Some watch most movies during these periods not because of personal schedule, but the quantity of released movies. Doug says that "many new movies will be on" during these time, and Alison adds that "when new movies burst, there are relatively more good movies".
Simon agrees he watches more when movies are heavily released, especially when foreign blockbusters are imported, but he argues that "it’s definitely not during summer holidays, because of the domestic film protection month". For him, the beginning of each year is the best time for moviegoers.
For others, their schedule decides whether they are free for a movie. May says that she might go to theatre "everyday during holidays and festivals, if I have dates". She also takes the quantity of movies as a condition, thinking that more movies out there provide more choices.
Ray says he spend plenty of time in theatre during summer holidays, and "it mainly depends on my spare time, as I won’t watch any movies if I’m busy". Tom feels the same, that by summer and winter holidays he will be free, and he’ll then often visit theatre.
Movie and politics?
Being in China makes it improbable for movie to be independent from politics, the phrases like "domestic film protection month" constantly call attention to the state’s power over movie.
What the state allows people to watch in theatre can be an interesting issue, as the guidance on passing censorship made by SARFT remains vague and subjective. Mia feels that screen is full of mindless Hollywood movies, but "it is what we have observed shapes our value system, and it might be a governmental action for brainwashing".
She comments that, "to be honest, SARFT is a little bitchy".
Meanwhile, she finds it boring for all movies to carry the same value system, and she would like to see Chinese value system has stronger influence in the world. "China has to be economically developed before trying to export values, or it would only be in derision." Says she.
In Doug’s opinion, movie should be independent from politics, but he admits that "this issue is very sensitive in China, therefore public figures have to pay extra attention to their behaviours".
Alison believes that independent art appreciation is impossible in China, especially when president Xi come into power. "A movie from certain country will reflect its national ideology," Alison says, "it’s just a matter of degree."
From Ray’s perspective, politics also affects movie on personal level, as he illustrates, "if an actor/actress has extreme words and deeds, my interest in movie itself will surely fall". He thinks every movie could be full of ideology, if audiences just keep thinking and deducing, but "it’s totally fine as long as you are comfortable with it".
Simon thinks personal attitudes and stereotypes in movies are inevitable, because "produces, reviewers, audiences – they are all people and only people". However, Tom argues "every producer should pay attention to his/her social responsibility, and should not impose own thoughts on people".
While believing that "cultural production is usually manipulated", May does not think it is appropriate to propagate ideology with movie. As she describes, ideally, "a movie could be a simple story that audiences can taste every bite of emotions in it. It’s not movie’s function to impose thinking."
"I just want to watch a pure story, whether it is about love, humour or suspense, and that’s all." Says May.
Censorship and rating system?
Though there are some comments using words like "too excessive" and "too strict", most of interviewees actually support film censorship conducted by SARFT.
Doug says he hates SARFT, but "what it does is necessary". In order to build a harmonious society, "I guess we can sacrifice some movies". Also, right now SARFT only decides which movies shall pass the censorship, instead of giving them different ratings, and this upsets him, but "the state owns the discourse power, so don’t ask why in China."
Ray holds similar opinion with Doug, that "if movies with reactionary theme are released, they are going to smash the harmony in China." Tom also support censorship in the sense that "not all creations are appropriate for viewing, therefore SARFT takes account for supervision". However, he agrees that all restrictions "make it harder to shoot a film in China than in other countries".
Simon regards film censorship as necessary, and thinks some generally acknowledged rules are proper to be adopted, however, "if personal preferences are also considered in censorship, it is nonsense. Because it’s your own opinion, not everyone’s". He adds that, "it’s also nonsense to think about so many political issues when screen, because it reflects the fragility of our government".
Molly thinks discussion on film censorship is needed, and raises questions as "who made the rules for censorship" and "why it has to be so". For years, rules and standards are vague and largely depend on rule makers’ personal judgment.
Speaking of rating system, the majority shows absolute support for it. Molly is surprised by the fact that there exists no such system yet – "So Chinese children could actually watch A Clockwork Orange in theatre?" Meanwhile, some think it is also fine to live without it.
Mia illustrates that "by now domestic and imported movies are under SARFT’s supervision, so there should not be many problems with them. We don’t have many choices for movies, and those released are usually just mediocre, so it might be meaningless to rate them". Ray agrees with her, that "if a movie has past through censorship, it’s fine for everyone to watch, because the censorship is highly strict."
Tom finds it very necessary to build a rating system, but "policies cannot be made within one day, but it needs support from masses". He thinks that Chinese used to watch movies all together, whether old or young, male or female, so "now we have to make baby steps changing the habit".
Simon also talks about the necessity and difficulty for rating system in China, "because the population is huge, and people live in various social classes with different educational backgrounds. However, no matter how hard it is, at least you should make a move".
May raises an example of movies with bloody scenes, these movies are not appropriate for children, but adults should have the right to watch them. "Some adults might just like those kind of movies, and I cannot see a reason to suppress that." She thinks that, not like children who have to be protected by parents, adults are reasonable enough to make their own decisions.
Because it would be hard to make sure that everyone follows the rating system, she also brings up an idea, that we could divide theatre into different sorts, such as theatres showing adult movies, theatres showing child movies, and theatres showing general movies as well.
What about domestic movies?
Though some interviewees think themselves as domestic movie supporters, all of them have recommended foreign movies when asked.
The mentioned movies are: Rise of the Planet of the Apes, The Jungle Book, The Dark Knight, Avatar , The Hunt , CoherencePerfect Strangers, The Extraordinary Adventures of Adèle Blanc-Sec, The The Castle of Cagliostro, Snowpiercer, Departures, Brokeback Mountain and Trainspotting.
For all recommended movies, seven of them are from Hollywood, while Japanese movies take two positions. Though Hollywood movies own mighty impact around the world, Japanese movies also stand out, maybe because of the similar cultural background. Mia says she mostly watch Asian movies, "especially movies from China, Japan and Korea".
According to Doug, Hollywood action movies are usually good, while domestic comedies have "more Chinese elements" and are related to his cultural background, so they seem funnier for him.
Simon says "domestic comedies do get me, but recent ones are not so attractive". He likes Xiaogang Feng for he is interesting and "down-to-earth", and his favourite comedy is A World Without Thieves, while Yimou Zhang’s movies have "already turned into a flamboyant style".
Tom and May holds an opinion that domestic comedies are not that good, especially the recent ones. As for action movies, Tom adds, "I think only Once Upon a Time in China can be called a good action film", and he thinks Hollywood action movies always promote individualistic heroism, and their roles do not have enough emotions.
Alison calls herself a forced domestic movie supporter, because under SARFT’s control, "right now is the domestic film protection month, so anything in front of you is made in China". For Molly, who lives in London, domestic movies are not so easy to reach, nor does she desire to watch them - "I cannot think of any genre that domestic movies are good at".
Mia feels the same with Alison: "Usually a Hollywood movie at least has good tableau, and it is worthy of my money, not like some domestic ones. I can understand that the government wants to promote domestic movies, but still I’d like to see more good foreign movies."
One problem with domestic movies, as Doug illustrates, is that movies’ possible themes have been reduced to a small range - "Many of them focus on ancient rather than contemporary stories such as Journey to the West, still, they are reflecting politics and culture."
While Doug blames it on censorship, Tom thinks it is producers and directors’ fault: "There are actually many themes and stories to be discovered in the long history of China, however, not enough directors are cultured enough to do that, instead Hollywood has borrowed a lot from Chinese and Japanese culture."
Molly also mentions movie’s function for exporting cultures, and she does not regard Chinese movies as successful in this aspect: "So far, there are few products related to culture have been released, or you can say, they don’t look attractive enough."
Opinions on Chinese market?
"There is strength in numbers." Mia concludes on this issue, that "after all we have near 1.4 billion people, so the box office must be huge".
Doug, however, treats population base as only one of the reasons, and there are another two: "first, more movies have been imported, as entertainment industry is developing fast. Second, living standard is rising, as Maslow's hierarchy of needs implies, food is before spiritual enjoyment."
From 2012 till now, 34 foreign movies are able to be imported each year, while the restriction could be abolished in 2017-2018.
Doug believes that the number of movie audiences in China will continue growing, because of "quick urbanisation". Relative techniques and commercial modes have helped Chinese movie industry’s development as well, such as mobile application and group purchase.
Alison thinks the prosperity of movie market reflects citizens’ spiritual emptiness. "Frankly speaking, we don’t have many forms of entertainment," says she, "the most popular recreation ways for masses are still Karaoke and movies." May feels more positive, and she thinks this shows people are willing to consume on entertainment: "I think people also enjoyed watching movie when the economy is not as developed as now, like watching outdoors with comrades, and it proves that we really care about entertaining."
No one seems to be surprised at Chinese movie market’s rapid development, however, no one seems to be really happy about this either.
A concern is that, with the fast expanding of market, lousy movies are emerging with incredible speed as well.
"Now that movie is a part of life, and Chinese theatres have reached the highest number in the world, certainly there is profitability", says Tom. While more and more people are trying their luck in this gold rush, He does not think everyone could make it – after all, movie is high art.
However, Chinese filmmakers have found an effective way to make money, that they focus on promoting instead of making movies. Tom illustrates, "it’s usual for a domestic movie to win box office based on hideousness, and audiences are just doing them a favour when ridiculing on social networks".
The 100 highest grossing films list could also be an evidence, as 19 out of all listed 52 domestic films have rating scores lower than 6/10.
Molly sees prosperous market as an opportunity for Chinese movies, but she does not think this promises a bright future for domestic movies: "Profits speak louder. Though plenty of money has been spent on movie, it may largely be used to chase famous actors/actresses, while the production remains lousy."
When asked about his opinion on Chinese movie industry, Simon says "I just hope more great movies can be produced, and I have nothing left to wish for".
