中國大陸電影產業發展分析

中國大陸是全球最大的華語電影產業市場，其市場的變化對全球電影產業影響甚劇，而電影產業為最直接影響其他國家文化的產業之一，可拓展國家軟實力，有助於國家經濟發展，亦能吸引跨國影視企業擴大投資。近年來BAT（百度、阿里巴巴、騰訊）為首的「互聯網企業」等業外公司也跨界插足電影產業，更是加速擴大中國大陸的電影產業版圖。中國大陸於「文化大革命」時期，電影文化受到嚴重打擊，電影製作題材受到限制，僅剩下「樣板戲」，當時的影片具有濃厚的政治味，但受政治意念籠罩的文藝作品仍然保留了一定的藝術水平。另外，在1964年由周恩來倡導的一場集音樂、舞蹈、詩歌於一體的史詩式彩色電影「東方紅」產生，這是中國大陸第一部彩色電影，以描繪中華民族近代史歷程為內容，誕生許多革命電影歌曲傳唱至今。文革末期，飽受政治清洗的人們呼喚出傷痕文學，這些文學作品不斷改編為電影，重新反思種種扭曲的人性，為電影重新注入了各種傳統道德，這種文革的陰影一直影響到今天。 1978年大陸實行改革開放政策，電影製作，開始重新進入正常的創作。由一連串訴說「文革」苦難的傷痕電影，重新展開了電影創作向人性的回歸和藝術的追求。80年代許多年輕導演作品因批判當時的政府而遭禁演。由於不符社會發展的審批制度，讓很多有創作力的年輕導演開始走嚮地下獨立作品的道路，大陸的獨立電影多以民生角度反映社會底層的生存狀況以及描繪大陸快速轉型期各階層領域的訴求，對比於政府自上而下任務式的宣傳電影，更能得到不同民眾的共鳴和啟發。隨著改革開放的深入，市場化的完成，中國大陸的電影工業開始從宣傳工具的角色轉變成大眾媒體，雖然傳統政宣式的功能依舊，不過九十年代中期開始，一大批充滿商業氣息的大片開始活躍，香港電影成功的商業概念開始影響大陸電影市場。此後，中國大陸電影工作者一直在探尋如何將傳統政宣式電影、主旋律電影改革為適合普羅大眾的商業電影。以韓三平為首的大陸電影工作者，身先士卒，提出電影的商業化改革戰略。中國大陸的商業電影市場正式開啟。 20世紀初期，中國大陸經濟飛速發展，文化市場空前繁榮，電影總票房不斷翻倍飆升。電影院如雨後春筍般建立，由於地產泡沫、人民幣升值、通脹加劇等誘因，導致中國大陸電影票價翻倍，一線城市的電影票價平均人民幣70至90元，甚至高於人民幣100元。看電影成中產階層的主要消費。人民「值回票價」的心態，驅使齊集大牌明星、場面宏大、投資過億的電影成消費主導，衍生了中國大陸電影業的大片潮流。近年，中國大陸的電影人開始以更成熟務實的方式面對迅猛崛起的電影產業，電影類型也不斷增加，各式新舊片種被不斷激盪嘗試。而大製作也重回劇本劇情主導的拍攝方式。不過電影投資卻出現前所未見的繁榮景象，來自世界各地的資金紛紛瞄準大中國大陸市場，拍片量猛然增加至每年超過600部。2010年中國大陸內地票房更突破100億人民幣，形成世界矚目的電影市場。2014年中國大陸電影票房超過40億美元，超越英國印度和日本，成為僅次於美國的世界第二大電影市場。中國大陸「電影產業促進法」於2017年3月1日起正式實施。該法在意識形態領域對電影製作提出嚴格要求，亦對境外機構或個人在中國大陸拍片進行嚴格限制，並明確規定沒有獲得公映許可證的電影不得傳播。同時，該法還對中國大陸自產電影的排片率予以保護，亦對電影審批程序進行簡化和放權，不過備受關注電影行業普遍呼籲的分級制度則並未寫入法律。針此，本研究將從政府法規、媒體報導、專書及論文著作等作文獻分析，觀察大陸電影產業發展，還有對於其國家文化軟實力的增強，展現出實質的影響。

關鍵字

電影產業；軟實力；互聯網

並列摘要

China is the world's largest market for Chinese-language film industry. The changes in its market have a great impact on the global film industry. The film industry is one of the industries that directly affects the culture of other countries. It can expand the country's soft power and contribute to the country's economic development. It can also attract multinational film and television companies to expand investment. In recent years, BAT (Baidu, Alibaba, Tencent) and other non-governmental "Internet companies" have also interdisciplinary into the film industry, and accelerated the expansion of the film industry in China. During the "Cultural Revolution" in China, the film culture was severely hit. The theme of film production was limited. Only the "model opera" was left. The film at that time had a strong political flavor, but the literary and artistic works covered by political ideas still retained a certain degree. In addition, in 1964, Zhou Enlai initiated an epic color film "Oriental Red" which combines music, dance and poetry. This is the first color film in China. It is the content of the modern history of the Chinese nation. Many revolutionary film songs have been sung to this day. At the end of the Cultural Revolution, people who had been politically cleansed called for scar literature. These literary works were constantly adapted into films, rethinking all kinds of distorted humanity, and reinjecting traditional morality into the film. The shadow of this cultural revolution has always affected today. In 1978, China implemented the policy of reform and opening up, film production, and began to re-enter normal creation. The series of scars that tell the suffering of the "Cultural Revolution" re-launched the return of film creation to humanity and the pursuit of art. Many young directors in the 1980s were banned for criticizing the government at the time. Due to the inconsistency of the social development approval system, many creative young directors began to move toward underground independent works. China independent films mostly reflect the living conditions of the bottom of society and the demands of various sectors in the rapid transition period of their land. Compared with the government's top-down mission-style propaganda film, it can be more resonated and inspired by different people. With the deepening of reform and opening up and the completion of marketization, the film industry in China has begun to transform from e role of propaganda tools to public media. Although the traditional political propaganda function remains the same, in the mid-1990s, a large number of commercial films were published. Beginning to be active, the successful business concept of Hong Kong film influence the China film market. Since then, Chinese filmmakers have been exploring how to transform traditional political propaganda films and main melody films into commercial films suitable for the general public. The China movie workers headed by Han san-ping took the lead and proposed the commercialization reform strategy of the film. The commercial film market in China officially opened. In the early 20th century, the Chinese economy developed rapidly, the movie market was unprecedentedly prosperous, and the number of the box office continued to double. Due to the real estate bubble, the appreciation of the RMB, and the increase in inflation, the ticket prices in China have doubled. The movie fares in first-tier cities average 70 to 90 CNY, even higher than 100 CNY. Watching movies become the main consumption of the middle class. The mentality of the people's "value back to the fare" has driven the filming of big-name stars, grand scenes, and investment over 100 million yuan into consumer spending, which has led to a large trend in the Chinese film industry. In recent years, filmmakers in China have begun to face the rapidly emerging film industry in a more mature and pragmatic way. The types of films have also increased, and various new and old films have been continually stirred up. The big production also returned to the shooting style dominated the script. However, film investment has never seen a prosperous scene. Funds from all over the world have targeted the China market, and the number of films has suddenly increased to more than 600 per year. In 2010, the China box office exceeded 10 billion yuan, forming a world-famous movie market. In 2014, China’s movie box office exceeded 4 billion US dollars, surpassing Britain, India and Japan, becoming the world’s second largest film market after the United States. The "Film Industry Promotion Law" in China was officially implemented on March 1, 2017. The law imposes strict requirements on film production in the field of ideology. It also imposes strict restrictions on the filming of overseas institutions or individuals in China, and clearly stipulates that films that do not have a screening permit cannot be transmitted. At the same time, the law also protects the filming rate of 3-produced films in China, and also simplifies and decentralizes the film approval process. However, the grading system that has received widespread attention in the film industry has not been written into law. In view of this, this study will analyze the literature from government regulations, media reports, special books and essay writings, observe the development of the film industry , and demonstrate the substantial impact on the enhancement of its national cultural soft power.