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《鬼灭之刃》
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上映不到1个月狂揽10亿票房,原著作者分了还不到40万?
3 6 Ke· 2025-08-13 12:05
题图 / 鬼灭之刃 鳄鱼老师:这场富贵我先收下了! 截至8月12日,《鬼灭之刃:无限城篇第一章》(以下简称:《无限城篇》)的票房已经达到了220亿日元(约合人民币10亿元,这个成绩已经超越了《航 海王:红发歌姬》整个放映周期的 203.3亿日元(约合人民币10亿元)。 重要的是,这个势头并未放缓,这部上映不足一个月的影片正以强硬姿态杀入日本影史前十,提前锁定日本年度票房冠军。而目前排在日本票房榜首的则 是《鬼灭之刃》的另一部剧场版,曾于2020年创下影史纪录的《无限列车篇》,总票房成绩404.3亿日元。 先不说《鬼灭之刃》还有两部计划之内的剧场版,就目前这两部就很可能把总票房打到千亿日元,所以在很多人心中,原作者吾峠呼世晴仅凭这两部剧场 版就能快速步入富豪俱乐部,但是事情似乎并没有想象中的那么简单,她甚至连票房的一个零头都拿不到。 与票房无缘的日本创作者 根据资本主义市场的铁律——日本文艺家协会规定:电影原著作者的版权金规定双方拟定合作要以上限为1000万日元(约合人民币47万元)去做协议,也 就是说,票房成绩和原作者的授权费用是一锤子买卖,最高上限是1000万日元,而且这里面还要扣除版权商20%-40%的费 ...
中国二次元市场5年翻番,原创IP崛起
日经中文网· 2025-08-10 00:33
Core Viewpoint - The Chinese secondary dimension market is expected to reach approximately 597.7 billion yuan in 2024, nearly double the size of 2019, driven by the growing popularity of domestic IPs and government support for their development [1][9]. Market Expansion - The market for character-related sectors such as animation and gaming in China is rapidly expanding, with a projected market size of about 12 trillion yen (approximately 580.5 billion yuan) in 2024, doubling from five years ago [1]. - The "BiliBili World" event in Shanghai attracted around 300,000 attendees over three days, indicating a significant increase in interest and participation in the secondary dimension culture [8]. Domestic IP Popularity - The popularity of domestic characters is on the rise, exemplified by the success of the animated film "Nezha," which grossed over 15.4 billion yuan during the Spring Festival, setting a record for Chinese box office earnings [12]. - The top trending IPs on China's second-hand trading platform include "Love and Deep Space" and "Identity V," showcasing the growing presence of Chinese IPs alongside popular Japanese works [15]. Government Support - The Chinese government is actively promoting the development of original IP brands, as outlined in the "Special Action Plan for Boosting Consumption," which emphasizes support for the animation, gaming, and esports sectors [14]. - Policies in Shanghai aim to revitalize tourism through IP and support the development of original IPs, reflecting a broader governmental strategy to enhance the domestic market [14]. Future Projections - The secondary dimension market in China is projected to expand to 834.4 billion yuan by 2029, driven by increased production and circulation of animation and gaming content, as well as the growth of emotional value consumption [9].
深刻?自嘲?招笑?揭开简中“动漫婆罗门”的尴尬困境
Hu Xiu· 2025-07-18 08:26
Core Viewpoint - The article discusses the concept of "Anime Brahmin," a term that has evolved within the Chinese online anime community, often carrying a negative connotation, and explores its implications on cultural identity and community dynamics [2][9][24]. Group 1: Definition and Characteristics of Anime Brahmin - "Anime Brahmin" refers to a group of anime enthusiasts who exhibit a sense of superiority based on their extensive knowledge and experience with older anime works, often criticizing contemporary anime and its fans [12][17]. - The term originates from the Indian caste system, representing the highest social class, and was adapted to describe a specific demographic within the anime community in China [10][11]. - Three main characteristics define the Anime Brahmin: 1. Accumulation of cultural capital and knowledge, often favoring older works from the 1980s and 1990s [12][14]. 2. Establishing group identity through exclusive language and references, creating a divide between themselves and newer fans [15][17]. 3. A critical stance towards contemporary anime, viewing it as overly commercialized and lacking depth compared to classic works [17][24]. Group 2: Cultural Capital and Community Dynamics - The concept of cultural capital, as defined by Pierre Bourdieu, helps explain the Anime Brahmin's authority within the community, encompassing embodied, objectified, and institutionalized forms of capital [29][30]. - The historical context of the Anime Brahmin's emergence is tied to the early exposure of certain users to Japanese anime during its introduction to China, which shaped their cultural identity and knowledge base [31][32]. - The article highlights the tension between older and newer anime fans, as the influx of new viewers with different tastes challenges the established norms and preferences of the Anime Brahmin [45][46]. Group 3: Social Perception and Vulnerability - The Anime Brahmin's elitism is often met with criticism, as their perceived superiority can lead to social alienation within the broader anime community [38][39]. - The article notes that the anime culture has historically been marginalized, which contributes to the vulnerability of the Anime Brahmin as they seek recognition and legitimacy [35][40]. - The negative stereotypes associated with "otaku" culture further complicate the Anime Brahmin's social standing, as they navigate the duality of seeking validation while facing societal stigma [41][44].
流媒体时代,中国动漫如何向日本学习?
Huan Qiu Shi Bao· 2025-06-09 22:29
Core Insights - Japanese animation has become a powerful soft power tool for the country, enhancing its global influence through decades of creative accumulation and artistic innovation [1][2] - The global revenue from Japanese anime reached $19.8 billion in 2023, with merchandise sales typically three times the revenue from streaming, indicating significant business opportunities [1] - The Japanese government has recognized the anime industry as a strategic asset capable of driving economic growth [1] Industry Analysis - The unique narrative style and aesthetic of Japanese anime are particularly appealing to global Generation Z audiences, who view these works as part of their cultural identity [2] - However, the Japanese anime industry faces challenges, including lower compensation for creators compared to foreign counterparts and the need for reform in the traditional production committee model [2] - Increasing competition from countries like China, South Korea, and Southeast Asian nations poses a threat to Japan's current dominance in content production [2] Competitive Landscape - China's "Nezha: The Devil's Birth" has become the highest-grossing animated film globally, earning over $2 billion, which allows the Chinese entertainment industry to invest further in production and reach a broader audience [2] - Experts suggest that while China has advantages in cultural depth and technological innovation, it must learn from Japan to build a unique cultural output system [2] - The global streaming revolution presents unprecedented opportunities for countries to share their stories and drive economic growth through cultural exports [2]