Core Perspective - The article emphasizes that Chinese cinema has evolved over 120 years to reflect the lives, emotions, and dreams of the people, serving as a voice for the populace and a mirror of societal changes [1][11]. Group 1: Historical Context - The inception of cinema in China was aimed at ordinary audiences, with its standards of evaluation directly influenced by the common people [1]. - During times of national crisis, such as the anti-Japanese war, films became a medium for expressing the collective will and determination of the people, transforming cinema from mere entertainment to a visual declaration of national spirit [2]. - The establishment of New China saw films depicting the rapid changes in society, showcasing the enthusiasm of rural youth and the pursuit of equality by women [2]. Group 2: Reflection of Society - Chinese cinema consistently follows the joys and sorrows of ordinary people, portraying their struggles and aspirations through various narratives [3]. - Films like "Search" and "Lost in the Stars" confront social issues, reflecting the weight of reality while also serving as a bridge for communication [3]. - The portrayal of ordinary characters resonates deeply with audiences, highlighting their virtues and struggles, thus fostering empathy and connection [8]. Group 3: Cultural Significance - The representation of heroic figures in films serves as a spiritual benchmark, inspiring audiences and instilling a sense of pride and resilience [6][7]. - Sports figures in cinema convey a spirit of perseverance and determination, with stories spanning decades that emphasize the importance of hard work and collective honor [9]. - The animation sector uniquely addresses profound themes through imaginative storytelling, engaging audiences with both entertainment and deeper moral questions [6]. Group 4: Future Outlook - As Chinese cinema enters a new historical phase, it aims to deepen its roots in the populace, capturing the grand journey of the nation and conveying the voices of the times through storytelling [11].

Core Viewpoint - The article analyzes the evolution of the Chinese film market over the past decade, highlighting the significant changes in the number, box office performance, and audience reception of domestic and imported films, particularly in the context of policy shifts and market dynamics [4][30]. Group 1: Policy Environment - Since 2015, the number of imported films in the Chinese market surged, peaking at 136 films in 2019, accounting for over 20% of films released annually [6][9]. - The increase in imported films was facilitated by a series of policy relaxations, including agreements between China and the US, and later with the UK, promoting co-productions and diversifying sources of imported films [7][9]. - However, after 2019, the number of imported films sharply declined to 62 in 2020, with the proportion of imported films never exceeding 20% again, indicating a significant policy shift [10][12]. Group 2: Box Office Composition - From 2015 to 2024, the ratio of domestic to imported films in the top ten box office rankings shifted from 7:3 to a complete dominance of domestic films, particularly after 2020 [12][30]. - In 2015, imported films accounted for 34.8% of the top ten box office, but by 2020, all top ten films were domestic, with domestic films maintaining over 90% of box office share in subsequent years [15][30]. - The contribution of imported films to box office revenue has steadily decreased, with domestic films now leading both in quantity and revenue [18][30]. Group 3: Audience Reception - The competition between domestic and foreign films in terms of audience ratings has been intense, with domestic films experiencing fluctuations in high ratings over the years [22][30]. - High-rated domestic films peaked in 2022 with eight entries, but subsequently fell back to lower numbers, indicating a competitive landscape where both domestic and foreign films vie for audience approval [25][30]. - Despite the volatility, foreign films have consistently maintained higher average ratings, often exceeding 8 points, while domestic films have struggled to stay above this threshold until recent improvements [28][30]. Group 4: Future Outlook - The article suggests that the Chinese film market will continue to evolve under the dual influences of globalization and localization, with an emphasis on diversifying the types of films being imported and produced domestically [30].

先给昨晚的文章纠个错，吴京当年拍战狼2拿过影帝，还不止一个，百花和华表的最佳男演员都是战狼京。 后台有读者给我纠正的时候我还愣了一 下，搜索确认后确实是这样。 原片片长接近3小时，我当时开着1.25倍速都觉得节奏偏慢，你们有兴趣的话搜一下b站或者抖音的电影精讲版本，中年人看了会更有感触。 …… 昨天贴的那张股市波动和收益分析图，有不少读者感兴趣，问我哪里能看完整的pdf，我上传到了百度网盘，你们自行提取下载。 链接: https://pan.baidu.com/s/1KYmQ9TvyZZVRQIqbh0sczQ 提取码: 3z85 我是被固有经验给想当然了，通常这类超级英雄的商业动作片是很难拿影帝的，比如007、碟中谍这些电影虽然卖的好，但默认都拿不了影帝，连提名都 没有，所以吴京战狼拿2个确实让我意外。 传统意义上华语电影三大电影节是金鸡（大陆）、金像（香港）、金马（台湾），我查了一下那一年的影帝分别是金鸡《地久天长》王景春、金像《沦落 人》黄秋生、金马《我不是药神》徐峥。 我这不是要暗示什么，我直说了战狼2是一部商业反馈很好的作品，但吴京在里面的表演比较脸谱化，并不是影帝级别。《沦落人》我没看过，但《地久 ...