文 | 娱乐硬糖 琉音 编辑 | 李春晖 正当咱们为电影市场的寒意发愁时，没想到邻国电影市场直接八倍速快进到"崩溃"状态。近日，韩媒《京乡新闻》释出爆炸性新闻，称"韩国电影崩溃"， 全年仅开机17部电影，两年后恐无片上映。 今年韩国电影市场持续低迷，观影人次破千万的"国民电影"绝迹，这导致上游端的投资趋紧。《首尔之春》导演金成洙直言，"韩国电影根本就没人拍 了"。 不过就在两年前，韩剧也传出过类似的耸动新闻——"韩剧市场崩了，明年恐无剧可看"。 所谓韩剧、韩影市场相继"崩溃"，身处内娱的我们其实很难感知到。这些年，韩影、韩剧一直在输出有声量的作品，照旧被标榜为值得内娱学习的"尖子 生"。但这些作品跟韩国本土制作没什么关系了，几乎都出自流媒体之手，尤其是Netflix。 去年韩娱巨头CJ爆出破产危机时，硬糖君就讨论过Netflix是如何一步一步攻陷日韩影视圈，逼得日韩本土制作资本抱团取暖，靠合拍进行自救（《东亚影 视圈深陷Netflix"杀猪盘"？》）。这一情况仍在持续。最近，刚播出了小栗旬和韩孝周合作的剧集《浪漫匿名者》，同时传出池昌旭即将合作日本当红小 花今田美樱。 不过虽然没有外来资本搅局，咱们这边的剧集 ...

Core Viewpoint - The current creative landscape is influenced by the interplay of art and technology, art and media, and art and social emotions, suggesting that innovation and exploration are essential for breaking conventional patterns and discovering new realms [5] Group 1: Art and Technology - The sci-fi film "The Wandering Earth 3" is adapting its script in response to real technological advancements, reflecting the rapid progress of Chinese technology [1] - New technologies have lowered the barriers to artistic creation, allowing creators to focus more on creativity rather than manual labor, thus enhancing the quality of artistic expression [2] - In the animation film sector, the freedom of creation is vast, but the quality of the work heavily relies on the creator's thoughts, creativity, and emotions [2] Group 2: Media Integration - The integration of media has introduced new expressive methods, requiring creators to adopt cross-media thinking to achieve unique and effective results [3] - Historical novels are being creatively written using computational systems thinking, transforming traditional narrative structures into new forms of storytelling [3] - The gaming industry is exploring a new realism that focuses on discovering the underlying rules of the world through player experiences, which can also influence film narratives [3] Group 3: Social Emotions - Creators must continuously study changing social emotions to ensure their work resonates with contemporary audiences [4] - The film "Nanjing Photo Studio" effectively engages with historical trauma through innovative storytelling techniques, while "Reverse Life" struggles to connect with social issues due to a lack of depth in character understanding [4]

Core Viewpoint - The film "East Extreme Island" has significantly underperformed at the box office, with initial projections of nearly 1 billion yuan now revised down to only 400 million yuan, indicating a major financial disappointment for a high-budget production [1][22]. Group 1: Box Office Performance - The film opened on August 8 and grossed over 200 million yuan in its first three days, but has only reached slightly over 300 million yuan after more than half a month [1]. - The total box office forecast has been drastically reduced to just 400 million yuan, which is disappointing given the film's extensive production time and investment [1][22]. Group 2: Critical Reception - The film has received poor reviews, with many long reviews on Douban rating it only one or two stars, suggesting a low likelihood of achieving a favorable score [3]. - In contrast, several other films released during the same summer season have received high ratings, with five films scoring above 8 on Douban, indicating a competitive landscape [3][9]. Group 3: Production Quality and Direction - Despite being considered a passable commercial film in terms of production quality, story, and performances, "East Extreme Island" is viewed as a significant failure when compared to the works of its director, Guan Hu, and other contemporary directors [4][5][6]. - The film's narrative choices, including the fictionalization of historical events and character development, have been criticized for lacking depth and failing to resonate with audiences [18][19]. Group 4: Industry Context - The film is part of a larger trend where many films under the "Alibaba Pictures Chinese Blockbuster" label have also underperformed, leading to a pessimistic outlook on the future of Chinese industrial blockbusters [22][23]. - The industry has seen a mix of high-quality productions and disappointing box office results, with only a few films like "The Wandering Earth 2" achieving profitability [25][27]. Group 5: Future Prospects - Upcoming films in the next two years, including those directed by well-known filmmakers, are expected to have significant box office potential, which could help restore confidence in the industry [29][30]. - The success of these films could positively impact the film industry, boosting morale and encouraging further investment in high-quality productions [29][31].

Group 1 - The overall box office market for the summer of 2025 is bleak, but Chen Peisi's film "Xitai" has grossed over 100 million in just two days, surpassing "Nihang Nihang" which took nine days to reach the same figure [1][3] - The film "Xitai" has received mixed reviews, indicating a potential decline in the long-standing "Chen Peisi myth" [1][4] - The exit of national comedy kings like Chen Peisi and Zhao Benshan from the film industry has had a profound impact on the domestic box office market, which has shifted towards urban middle-class audiences [4][5] Group 2 - The film industry in China has faced structural issues since the 1990s, with a significant reliance on a few successful directors and their works, leading to a fragile middle market [5][6] - The transition from a planned economy to a market economy in the late 1980s and early 1990s led to a crisis in the film industry, with a decline in both the quantity and quality of domestic films [6][7] - The introduction of Hollywood films in the 1990s further exacerbated the challenges faced by domestic productions, as they struggled to compete with the precision and appeal of foreign films [19][20] Group 3 - The real estate boom in the 2000s provided a temporary revival for the film industry, leading to a surge in commercial cinemas and a renewed interest in local films [22][23] - However, the current film market is highly capitalized and entertainment-driven, making it difficult for traditional artists like Chen Peisi and Zhao Benshan to participate meaningfully [24][25] - The absence of crowd-pleasing films has resulted in a weak middle market, which is crucial for sustaining the industry and nurturing talent [25][26] Group 4 - The historical context of the film industry reveals a pattern of misalignment between production and audience interests, leading to a decline in viewership and engagement [10][14] - The lack of a robust middle market has resulted in a reliance on blockbuster films, which can be risky if they fail to perform [26][27] - The current state of the film industry reflects a departure from the grassroots, community-oriented storytelling that characterized earlier successful films [24][31]

Core Viewpoint - The article discusses the significant shift in China's film and television industry from the north to the south, particularly focusing on the Yangtze River Delta region, highlighting the reasons behind this migration and the implications for the industry [3][4][5]. Group 1: Historical Context - For a long time, the film and television industry in China maintained a balance between the north and south, with northern cities like Beijing and Changchun being central to the industry [5]. - The transformation in the location of film projects began around 2010, coinciding with the rapid growth of the Chinese film market, which became the second largest globally by surpassing Japan [5][6]. - The emergence of numerous local film and television industrial parks across the country was a result of increased demand during the industry's peak years [6][7]. Group 2: Current Trends - The northern film industry, particularly in cities like Qingdao, has seen a decline post-pandemic, with fewer large projects and a shift towards short dramas [7][9]. - Qingdao's Oriental Movie Metropolis, once a hub for major productions, is now struggling with low occupancy rates and high operational costs due to its expensive rental prices [11][12]. - In contrast, the southern region, especially the Yangtze River Delta, is experiencing a boom in new industrial parks and projects, with cities like Wuxi and Suzhou becoming popular filming locations [16][18]. Group 3: Factors Influencing Migration - The shift towards the south is attributed to several factors, including better weather conditions for filming, more convenient transportation networks, and supportive government policies in the southern regions [12][13][18]. - The Yangtze River Delta offers a more mature industrial chain, allowing for easier resource mobilization and collaboration among production teams [17][18]. - The financial incentives and subsidies provided by local governments in the south are significantly more attractive compared to those in the north, encouraging production companies to relocate [18][19]. Group 4: Future Outlook - The article suggests that the future of film and television production may lean towards "light asset" models, focusing on smaller, more flexible production facilities that can adapt to changing industry demands [21][22]. - The survival of film and television bases will depend on their ability to offer competitive pricing and comprehensive support services to production teams [21][23]. - The ongoing evolution of the industry indicates that adaptability and resourcefulness will be key for both northern and southern regions as they navigate the changing landscape of film and television production in China [23].