Wen | Deep-sounding Zuyang

Last year’s short play, which was soaring all the way, is still "YOLO" in the Spring Festival this year.

In the past Spring Festival, short plays took 800 million yuan in just eight days, accounting for one-tenth of the box office of the Spring Festival movies. When Spring Mountain School, Stealing Photos and Sora are hot searches, short plays still hold up a public opinion position: the Spring Festival explosion "I became a stepmother in the 1980s" has become the focus of hot discussion from the leading actor to the behind-the-scenes trader, and the short play "Big New Year’s Day" in Tik Tok has ignited the "divorce AA system", and the star’s appearance in short plays has once again triggered discussion.

Not only at home, but also overseas short plays during the Spring Festival are in full swing. On the first day of the new year, TopShort, a short drama platform owned by Jiashu, surpassed Netflix in the Japanese iOS bestseller list. Guohai Securities Research Report predicts that the future market space of short dramas will exceed $30 billion.

Although the Spring Festival has passed, the power of the short drama Spring Festival file continues. The short drama concept stocks in the A-share market are all red, and many stocks such as Xinyada, Guomai Culture and Huayang Lianzhong have daily limit. The platform is also constantly overweight, and short plays are becoming more standardized and refined. Recently, bilibili is experimenting with short plays with monthly subscription, and Tik Tok has increased the recommendation of small programs. Aauto Quicker will upgrade the Star Mang short plays this year, which will lower the threshold for creators and increase their income.

At first glance, short drama seems to be a rare growth industry this year, but in fact, most practitioners are cautious about it. When the industry flies through the expansion period, the logic of the tuyere changes quietly, and then it is bound to be a more bitter battle. At the end of the Spring Festival, "Deep Ring" interviewed Wang Xiaoshu, the founder of Jiashu Technology, and discussed three major issues in the short play:

What is the development space for the business model of short plays?

How will the production factors of short plays change?

The short play is still in the wild period, where is the real opportunity?

How will the business model evolve?

There is an unwritten law in the commercial market: after any new track is popular, the capital with a keen sense of smell always gives feedback first. Film and television, reading and comics have all experienced the peak period of financing. On the other hand, short drama, since its birth in July 2021, has seen the daily limit of short drama concept stocks from time to time, but we rarely see the financing behavior of short drama companies.

In Wang Xiaoshu’s view, this is a problem of "business model"-at present, short play is a relatively good and healthy business with relatively good cash flow. In other words, if it’s just a short play of small programs, there is no need for financing.

In fact, according to the different sources of development and business logic, short plays are generally divided into two categories: one is short plays with small programs, which gain users’ attention by investing in streams. After users jump into small programs, they use "plot hooks" to attract users to pay, which is more traffic-oriented in nature. The other category is the boutique short drama released by the platform account. Traditional film and television companies and MCN institutions have settled in accounts and released short dramas on the short video platform, and users can watch them for free, mainly relying on brand implantation.

From this point of view, the business model of short plays has been relatively rich as a whole, including user recharge, information flow advertising and brand implantation. At present, users’ top-up is still the mainstream income mode, and it also contributes the most. In the future, Wang Xiaoshu believes: "There is more free space. In terms of income composition, advertising and brand income will increase substantially this year, and the combined data of the two may exceed the user’s recharge."

Small programs and short plays on the line around the Spring Festival

Indeed, the growth momentum of information flow advertising and brand implantation can be seen in this year’s Spring Festival file.

Last year, "Oh, the Empress Comes to Work", "Mr. Fu’s vest can’t be hidden after the flash marriage" and "Wushuang" were blessed with three explosions, and the advertising of short drama information flow continued to climb up ten million or even over one hundred million. By the Spring Festival this year, the market is even more "rolled up". According to the new wrist report, during the Spring Festival, many platforms gave high-quality traffic and rebate support, and the traffic of Tik Tok short drama applets exceeded that of WeChat short drama applets.

The Spring Festival is the peak period of user activity, and short plays bring their own eye-catching physique, which strongly stimulates users. Advertisers who have always followed users’ attention naturally can’t sit still. During the Spring Festival, they "packaged" a number of short plays in one breath, which gave them a sense of existence.

Judging from the incoming brands, the Internet platform is still a big producer of short plays. For example, Tmall exclusively named three short plays of Aauto Quicker during the Spring Festival, I Open a Bar in Dasong, Yuanyang Duane, and Super Working Family. The short play All the Way Home starring Song Muzi has the exclusive title of JD.COM Automobile.

Short play implantation

Jiashu short play is also cooperating with some brands at present. Wang Xiaoshu told "Deep Sound" that for brand owners, compared with TVC advertising and long drama implantation, the core advantage of short drama lies in "certainty".

First, the preparation and production cycle of short plays is short. Whether shooting or communicating with brands, efficiency is the first criterion. Wang Xiaoshu said that sometimes the screenwriter takes his laptop directly to the brand side to modify, how to implant the picture and what new requirements are there. The two sides communicate in time and can finish the modification in one day and satisfy the brand owner.

Secondly, short plays have less investment and higher cost performance. Under normal circumstances, the production cost of a short play is several hundred thousand, which is similar to the price of shooting a TVC advertisement, but the return rate of a short play is much higher than that of a TVC. A short play with more than ten episodes has a rich product implantation scene, and the brand can be continuously exposed, continuously deepening the audience’s cognitive impression.

Third, short plays are data-driven. After the brand is embedded in the short play, the exposure, the number of interactions and the brand search index are all quantifiable, and the brand owner has more effect indicators to refer to, and he can be "aware" every time he puts it in.

How do various factors of production change?

The development of the above business model is inseparable from the prosperity of content.

The short drama industry has been growing all the way, and two timing nodes are particularly critical. One is that in April 2022, Tik Tok released the launch and jump of WeChat applet, which directly boosted the short play to usher in a huge wave of outbreak. The daily income scale of the short drama industry has rapidly increased from several hundred thousand a day to ten million or more, and the ceiling of growth has been punctured. The other is the influx of professional production companies and MCN institutions, which has raised the professional level of short drama production.

Looking at the Spring Festival movie list, the producers behind it are almost all traditional film and television production companies, and many short plays are adapted from popular film and television IP.

Among the 10 short plays of Spring Festival staged by Tik Tok, "Go beyond it! A Juan is a derivative of the animated film The Lion Boy, which is produced by Beijing Wonderful, a subsidiary of Baina Qiancheng. "It’s windy on my way home" is adapted from the drama "Go to a windy place", which is produced and produced by Huace Film and Television. The game in disguise is a derivative short play of the movie "Put all your eggs in one basket", which is also the first time that a bad monkey has produced a short play.

Aauto Quicker’s short play "Wake up! The master behind Lord castellan is the original team of costume light comedy Protect Our Lord castellan. Guo Xiaoting and Andrew starred in the short play "Super Working Class", and the producer behind it was the other city film industry, which once produced "The annual meeting can’t stop! "Warm" and other movies.

In the small program drama market, we saw the news of the entry and preparation of the famous director team and film production company at the end of last year. Last Friday, the first short play "Violet Robbery" produced by Wanda Pictures and Lehua Entertainment was broadcast on the small program.

After the traditional film and television industry institutions entered the market, they also forced the content production of short plays to usher in iterative upgrading.

The most intuitive change is the adjustment of the talent structure in the industry. Wang Xiaoshu said that almost all the main producers in the short drama market have migrated from long dramas. After these new and truly good talents came in, the original production pattern of the industry was squeezed-the previous head was reduced to second-rate, and those who were not good at learning were directly eliminated.

Taking screenwriter as an example, Yan Min, the founder of short drama insider, once revealed that many screenwriters of short dramas were transformed from network writers, which made many short dramas more like video versions of online texts than traditional film and television production. However, with the specialization of production, Wang Xiaoshu observed that the main screenwriter who wrote well now became the screenwriter who originally wrote long plays, and after the transformation, he was "quite active" in the short play market.

Secondly, the production cost of short plays has been significantly increased. According to Wang Xiaoshu’s memory, the cost of shooting a short program in the early years was around 100,000 to 200,000, and then it gradually doubled to 400,000 and 500,000, and most of the soaring costs were used in shooting and production.

"For a 500,000 film, it may cost 100,000 yuan to buy IP and ask for a screenwriter, and the remaining 400,000 are all shot in seven to ten days."

According to "Deep Sound", according to the production links of short plays, the actor’s expenses account for the bulk of the cost. According to insiders, most of the leading actors are quoted at 3,000 to 5,000, and the head actors have reported tens of thousands of yuan a day. Li Qingling, the head of the micro-short drama business of Gumai Jiahe, once told Shenxiang: In the past, short drama group performances were calculated by the day, but now the price of each group performance has risen to more than 1,000 yuan.

With the blessing of professional teams and the continuous influx of hot money, the corresponding result is that the short drama has moved from the past earthy video of the grass-roots team to refinement and quality.

For example, the most direct change brought about by the rising price of actors is that the face value of actors is more "able to fight". One of the reasons why "I became a stepmother in the 1980s" swept the short video platform is that the hero looks like a collection of Wallace Huo and Sean Xiao.

"Short plays are the product of visual communication. From the user’s point of view, he actually doesn’t care about your cost, but only cares about whether it looks good or not." Wang Xiaoshu said.

I became a stepmother in the 1980s.

Another major upgrade is also reflected in technology. Virtual production, which has been mentioned repeatedly in the long drama market, is now being applied to short drama production.

Produced by Chuangyi Technology (the behind-the-scenes team of Liu Yexi), "Two Lives" is the first short play with virtual production, and 60% of the content is produced by virtual production. The city street view and aerial ropeway in the story are virtual assets. Xie Duosheng, co-founder and chairman of Chuangyi Technology, revealed that the cost of the whole drama is between 5 million and 10 million.

The short play going to sea is not as simple as imagined.

Undeniably, after professional producers entered the market, the cost of driving short plays soared and content production became more difficult. At this time, overseas was regarded as a new blue ocean by many entrants. In the second half of last year, China’s short plays violently drifted to the other side of the ocean, "harvesting" overseas audiences, but also set a highlight moment.

ReelShort, who entered the game earlier, boosted the data explosion growth in June last year with The Double Life of My Billionaire Hubband. After that, the new frequency was stabilized at 2 monthly shifts, and explosions continued to be launched. In November last year, Reelshort pushed TikTok to the first place in the US iOS entertainment list. ShortTV went online in September, 2023, and started to increase rapidly. At the end of September, ShortTV was ranked in the TOP10 of Google Store Entertainment Free List, and it was located in TOP1 for five consecutive days. TopShort, an overseas short drama platform of Jiashu, mainly focuses on the Japanese market, and has produced more than a dozen works. On the first day of the new year, it ranked higher than Netflix in the Japanese iOS bestseller list.

Both TikTok and Netflix are eco-level Internet head players. TikTok is not listed, with a valuation of over 100 billion. Netflix has been deeply involved in streaming media for more than 10 years, with a market value of 260 billion US dollars. The short drama platform, which is just in its infancy, can play against the giants for a short time, which is enough to see its influence in overseas markets.

Overseas explosive short play

But in fact, we see that these growth moments are not sudden behaviors, but the results of the long-term resource accumulation and market education of the short drama platform.

The parent companies or founders behind ReelShort, ShortTV and TopShort all have rich experience in online writing. ReelShort’s parent company, Chinese Online, launched the interactive visual novel platform Chapters from 2017, covering major countries and regions around the world. Wang Xiaoshu, the founder of Jiashu Technology, came into contact with the net in 2018, and then entered the short play platform TopShort, which has produced more than ten short plays before surpassing Netflix.

In the past, the online articles went to sea, which has cultivated a large number of overseas audiences’ cognition and preferences for tyrants, sadomasochism, Xianxia and other types, and accumulated a number of audiences for short plays. At the same time, the web IP also provided a rich and market-proven source reserve, which also laid the foundation for the subsequent short play.

Despite the past experience, in Wang Xiaoshu’s view, short play going to sea is not a short-term thing that can get excessive returns. All companies that do short play going to sea are not interested in the present, but in the opportunities in the market in the next three to five years.

Specific to the practical link, the short play going to sea is not as easy as expected.

For example, at the production level, practitioners must first face the differences in user habits at home and abroad. When TopShort first entered the Japanese market, it directly copied the domestic short plays and themes into the App, but Japanese users did not pay the bill. After that, TopShort began to try local production, and found out that Japanese users liked the theme of "cheating" through trial and error. However, in the short play market in China, "cheating" is only a negative behavior of the story characters, not the main line of the story, but in the Japanese market, it needs to be thoroughly written and filmed to adapt to users’ consumption preferences.

Secondly, China’s short drama companies need to do infrastructure construction to make original short dramas overseas. There is no category of short plays overseas. Directors, screenwriters and directors need to be trained from scratch, and even the most basic translations need to be re-found. Wang Xiaoshu revealed that TopShort visited a large number of Japanese companies in the early stage of its establishment and found many partners before setting up a local team in Japan. When shooting and producing, it is normal to light up and write scripts and communicate with local creators repeatedly.

TopShort short play

In addition to production, casting is also an important part of short plays. After the interconnection between WeChat and Tik Tok in China, short plays broke out. However, it is difficult to find similar breaking nodes overseas.

There is no ecological base for Applets in overseas markets, and there is no super app like TikTok, so the traffic is relatively scattered. However, the advertising materials posted to social media platforms such as Facebook and Tiktok need to be downloaded by users, registered and logged in before they can watch them, and the intermediate link is long, which is likely to cause traffic loss.

From this point of view, it is difficult to copy the story of overnight wealth in short plays overseas. Practitioners also need to be careful before entering the game-whether the level of content creation, risk-taking ability and the preferences of overseas audiences can get used to it, and whether the logic of creating vertical-screen short plays by domestic investment will be accepted by overseas audiences.

The following is part of the dialogue between Shenxiang and Wang Xiaoshu, the founder of Jiashu Technology:

[About business model]

Deep ring: What do you think is the turning point of the sudden outbreak of the short drama industry?

Wang Xiaoshu: The biggest turning point, I think, should be in March, 2012, when Tik Tok released the launch and jump of WeChat applet. The daily income scale of the industry has roughly changed from several hundred thousand a day to 10 million or more within half a year.

Because if it is hundreds of thousands a day, it is actually a business of 100 million to 200 million a year. But when it quickly broke through the ceiling and reached 10 million, it directly became a business of billions a year. Later, from a few billion to this one hundred and twenty billion, I think it has become a natural growth relatively. Therefore, Tik Tok’s intervention and efforts led to a rapid outbreak of short plays.

Deep ring: Now many listed companies are doing short drama business, but I see that startups in the short drama industry actually have no financing behavior, unlike when everyone was reading or making cartoons.

Wang Xiaoshu: I think generally speaking, it (short play) is a relatively good and healthy business with relatively good cash flow.

Of course, there may definitely be changes in the future. For example, if you do APP or AI, its business model will change, and financing may appear one after another. If it is a business model of pure small program payment, most of the company’s cash flow should be quite positive.

Deep ring: nowadays, almost all online companies are doing short plays, and the audiences of short plays and online content are also very coincident, and the payment mode is also very similar. It is also called online PPT, and short plays eat up the online market?

Wang Xiaoshu: At present, the impact is not too great. Short plays are mainly incremental markets. Generally speaking, the number of users who consume video is far greater than the number of users who consume text. In the past, we calculated that the whole novel market may be almost 10 billion a year. Short plays have now reached 30 billion to 40 billion, and it is definitely not squeezed out by this 10 billion.

However, if consumers’ consumption time is regarded as a whole and the overall consumption time has not changed, in terms of the distribution of time, after the rise of short plays, it may be that more people have moved from fragmented ultra-short videos of 15 seconds and 20 seconds to short dramas with relatively long narratives, that is, people who casually brushed short videos in Tik Tok before began to watch short plays, which has little to do with novels.

Deep ring: Because the online text is also paid and free, and now the mode of making money by watching short plays is still paid, do you think there will be any room for it in the future?

Wang Xiaoshu: I think there is a lot of free space. I think advertising revenue and brand revenue will definitely increase substantially this year. Advertising revenue is similar to the income brought by the information flow of effect, and brand revenue includes various implants in the early stage. From the perspective of composition, it is also possible for advertising and brand revenue to reach or even exceed user recharge.

Many people think that you can only make an APP for free, but this is not the case. There are many short drama theaters and a large number of short drama accounts in Tik Tok and Aauto Quicker platforms, and the penetration rate of this model far exceeds imagination. Last year, Aauto Quicker released data that the daily life of short drama users exceeded 260 million. In fact, such a large number of users have watched short dramas for free on Aauto Quicker, which is equivalent to the bottom of the pyramid. The chassis space is very large, and there are many opportunities for mining and screening.

Deep ring: Now there are many opinions that the money of short plays has been earned by the platform. In fact, not only the short play industry, but basically every industry is saying that it is working for Tik Tok and Aauto Quicker. Do you think this kind of benefit distribution is reasonable? Is it possible to change?

Wang Xiaoshu: I think in fact, in terms of business, there will be changes. For example, many short drama companies choose to go to sea this year. In essence, this is a process of exploring a better business model, whether to sell it at home or overseas. This is the problem of business model. I think short drama is a free market. You can freely choose whether to invest or not and where to make money.

However, from the perspective of profit composition, I also think that the income of content creators in the short drama industry is relatively small. This little is relative to movies, which are all about shooting a 100-minute story video, and users pay the bill, but the proportion of making movies may encourage creators more.

Of course, we have also seen some industry changes. For example, Tik Tok and Aauto Quicker have scheduled short plays, which actually encourages content creators to produce high-quality content for the platform. Although the business model is still free, I think it is also a subsidy. How to understand it? The left hand of the platform earns advertising fees by selling free short plays, and the right hand takes out part of the advertising fees to subsidize free short plays. Then the free short plays actually constitute the user base of some paid short plays. I think this cycle is established. Of course, the specific performance depends on the strength of the platform itself.

So I think it should be fine. I think the distribution of the whole profit pattern is dynamically evolving and constantly changing.

Deep ring: I just mentioned that the income composition of short plays includes recharge income, advertising income and brand income. I want to discuss with you again. Where are the difficulties and opportunities for brand implantation of short plays now?

Wang Xiaoshu: Recently, we are also doing a brand short play of a big company. In the process of doing it, we feel that the key lies in the docking of the two sides’ consciousness. We pay more attention to recharge, so advertisers have no demand for recharge, and more hope that its short play will be exposed to a greater extent; Or the brand owner wants to participate in the top-notch performance, then the problem may be that the schedule is relatively tight. In fact, it is understandable. After all, people on both sides of the content side and the brand side do one thing together, and mutual cognitive methods need to be run-in.

Brand owners still recognize the value of short plays. For them, it costs hundreds of thousands to shoot a good commercial, and the short play with similar price is more cost-effective. There are many stories in 100 minutes, so the exposure of the brand is sustainable and the user’s impression will be more profound.

At the same time, because of the way of short play, it is very suitable for publishing from media accounts, no matter whether its own brand account is rising or the brand customized short play is quoted by other platforms, the brand side thinks this is a good deal.

Deep ring: Like short drama implantation and long drama implantation, do you feel that the demands of the brand will be different?

Wang Xiaoshu: It’s not bad. Just kidding, I think short plays have a better sense of service, because we are now cooperating with brands to brand short plays, and the cost of a short play is several hundred thousand. Many brands will pay the full amount in advance, and then we will have a high degree of cooperation, whether we are directors, actors or screenwriters.

Secondly, I think the core is still fast, and it is done quickly by itself, and everyone runs in quickly. Sometimes our screenwriter takes his laptop directly to the brand to make changes. What do you say you want to do and what are your needs? We can make changes normally, and we can finish them in one day, and then satisfy the brand.

So overall, the cycle is short, the investment is small, and the effect of the service is still visible-how much exposure does my account have, how many interactive likes and comments, and will the brand’s search index be improved? These can be quantified. Compared with long plays, short plays are more certain.

Deep ring: Is it more often to directly connect with the brand, or will it be grafted on that platform?

Wang Xiaoshu: Platform. The current advertisers are basically platforms. Because we are also exploring this business model, the biggest advantage of Internet platform companies is that they are still relatively familiar with it. From the perspective of doing business, it is faster to make a list of platforms, and the platform itself has many sub-brands. If all these sub-brands are made in one round, it may be more than a dozen, which is guaranteed in quantity and sustainable. Most consumer brands are difficult to batch.

【 About production factors 】

Deep ring: Are there any important key nodes in your process of making Jiashu?

Wang Xiaoshu: I think "starting to do" is the first. I started writing in July, 2001. I was mainly writing free novels the year before, but I really felt that the best time for free novels had passed. At that time, tomatoes had great advantages, so I was confused about finding directions. Later, I saw this opportunity to combine our own story genes and abilities with trends such as new media and short videos.

Secondly, I think the production and upgrading of the whole content began last year, and many strong people joined in, which will make my understanding of the whole short play more film-oriented. Because at the earliest time, in fact, everyone’s requirements for video were not so high. After the professionals came in, the whole thing was quickly raised, and we also spent a lot of energy to catch up with the average line of the market.

I think these two things are very impressive. One is to seize the opportunity of the starting point. The outbreak of Tik Tok helped us to break the ceiling quickly. The other is that after the short play broke out, many strong people came in, and we also improved with them.

Deep ring: After these professional companies come in, what kind of influence will they have besides raising production costs?

Wang Xiaoshu: I think the production cost is at the level of comparison results. The real difference is that after a large number of Tik Tok MCN and professional production companies that make movies and TV series entered the market, the talent structure of the industry has undergone important changes.

For example, the main screenwriter who writes well now has become the original screenwriter who writes long plays. He has transformed into a short play with small programs and is very active in the market. Including directors and actors are also a migration of long dramas. You finally see the cost increase because the short dramas are finer and better, but in terms of the process, we are more concerned about the change of talents, which has been fully done by talents of medium and long dramas. Now this situation is more and more in the industry.

Deep ring: Are those people who used to do short plays eliminated?

Wang Xiaoshu: In fact, most of them have been eliminated. Of course, there will certainly be some people who are very capable of learning and can be active in the market, but from the perspective of the whole big industry structure, the former head may now be reduced to second-rate, and emerging and really good talents will come in and form a squeeze on them.

Deep ring: It’s like a math problem. After the influx of professionals, the cost will be higher and the profit will be thinner. Does the business model of short play support this surge in cost?

Wang Xiaoshu: So far, it’s actually fine. For example, we say that there may indeed be some producers or platform companies that will suffer mass losses this year, but after the whole market pulls the content to a level because of the head, it looks like malt, just like the situation we are facing, that is, you follow or not, because if you don’t follow, your business can’t go on; At least you have a chance if you follow. If you are in the top five in the whole market, you still make money, and if you are in the top ten, you should not lose money.

Now, the content cost has basically reached a stable period, and its cost growth is slow in a short time or for a long time. In the early years, it changed from 100,000 to 200,000 to 300,000 to 400,000 and 400,000 to 500,000. This change is very strong, and it has doubled. But now you have changed from 400,000 to 500,000, and this growth has become linear, so the impact on us is not great.

Deep ring: Listen, I feel that the short drama practitioners are still in an acceptable state for the platform and professional companies to raise the competition line, right?

Wang Xiaoshu: Objectively speaking, it is actually irreversible.

For practitioners, this incident happened a bit like the early cyber-movie. It was hundreds of thousands in the early days of filming a cyber-movie, and then it may be millions or even tens of millions. Of course, I don’t think short plays are very good, because short plays take the story route, not the special effects route. It will be somewhat different, but I think it can’t be confronted at the regular level. The only way is to actively cooperate with the transformation, because many colleagues have experienced things like what we are experiencing now.

Doing fine products, cultivating high-quality talents, doing more exquisite creativity and refined operations, including brand tonality and content supervision, will all change, so I think this matter is inevitable.

Deep ring: Who is the most central role in the whole process of short play? How to form a more stable relationship between the company and these core talents?

Wang Xiaoshu: In our industry, the core is the script, and we can also tell stories.

In our job, the person in charge of the story is generally divided into two. The first one is product selection, or planning, which mainly sets the general direction and categories. The other is script implementation, which is the familiar screenwriter. These two positions are the editor-in-chief, so simply speaking, this position may be the core driving force. He is setting the direction, and he will go to the script implementation after setting the direction.

In fact, if a play is successful, I think the story accounts for 50%.

Deep ring: Now everyone in the industry is talking about quality, but in fact, users are looking for coolness when watching short plays. He wants a 70-point thing, but if you give him a 90-point quality, he will not appreciate it. So what is the promotion of short drama quality? Service road? Plot? Actor? How to grasp the degree of this boutique?

Wang Xiaoshu: Short plays are mainly aimed at mass consumers. What is our deepest understanding in this field? Many things are driven by human nature. For example, the actor’s face value, the actors we used in our early years, had a few hundred dollars a day, and there were one or two thousand days. Then the actor who is better now is at least five or six thousand a day, and even better, he may spend more than 10 thousand yuan a day. Then the so-called cost increase actually only brings about one change, that is, the face value can be played better.

People like to see beautiful things by nature, so from the user’s point of view, he actually doesn’t care about your cost, he only cares about saying that the short play I saw is good-looking. Many companies do short plays well, and to some extent, they are "rolled out". If you want to be more successful, you must meet the needs of users. The most basic needs of users are to see more beautiful people, more professional acting skills and stronger emotions. In our interpretation, these things are to use better people, so that the audience’s visual experience will be better.

Short play is a kind of visual communication, which is very intuitive. Your service is not good, your face value is not enough, and many problems are particularly obvious. Some angles are also related to its investment.

Nowadays, dozens of new dramas are put on the market every day. When you are in the stream, the paying ability and depth of the drama must be determined by the satisfaction of consumers. If consumers are satisfied, they will pay more. Paying more will make your bid high enough to get traffic. This is completely the logic of users voting with their feet.

So, for example, we both played a play today, and the actor you used was a little better than the actor I used, and everything else was just the same. From a certain point of view, your competitiveness might be stronger than mine. The pricing of short plays is more dynamic, but because your visual effect is better, that user may be willing to pay 50 yuan to watch your film, while my user is only willing to pay 45 yuan, which seems to be only 5 yuan short, but in fact it may be several times worse.

The video itself makes the good and bad exposed very obvious, and at the same time, the business model of streaming makes this gap more "Matthew effect", which is a bit strong and strong. Or, you can understand the investment flow as a lever. Your advantages and disadvantages are magnified by geometric multiples. You may be just a little at first, but the differences in various superpositions are very big in the end.

Deep ring: So do you do it yourself? Or should I outsource to those distributors?

Wang Xiaoshu: I think it is the different strategies of each company. Like a crowd, it will be more comprehensive. Like most of our startups, we will concentrate on one point. Like Kyushu, although we have almost the same time of establishment, Kyushu is basically purely self-funded and has a team of hundreds of people.

Deep ring: As you mentioned just now, the core of the short play is the script. We see that there are statistical data, and 80% of the short IP plays are online. Is this data accurate? I can see people collecting scripts every day in some short drama groups, which gives people a very contradictory feeling. What is the IP supply situation at the source of short dramas?

Wang Xiaoshu: Generally speaking, many heads and explosions are from well-known IP. The head company has its own novel reserve, a stable screenwriter team, and self-made scripts are the main ones. An IP is very classic, so it is normal to change it three times and five times. For example, Dragon King’s Order is a classic male frequency. As far as I know, it has been changed ten times. Ten short plays are called Dragon King’s Order, and the possible differences are gaiden, prequel and 123.

As for accepting scripts, I think it may still be a new company, which has no script ability and its own screenwriter team in a short time, but if he wants to make achievements, he can only buy them. I think this is a strategy of each company at different stages.

Deep ring: How much will it cost to buy IP now? What is the most expensive link in the whole process of short play?

Wang Xiaoshu: If you only count the source of the novel, the general price is tens of thousands of dollars.

If you want to look at it from the perspective of revenue, it is investment, but we generally don’t count investment as cost, which is called marketing expense, because investment will only happen in one situation, that is, your ROI has become positive. If you can’t vote, you won’t vote. If you don’t vote, you won’t lose money. Although the marketing cost is big, it is not the most difficult place. The most difficult thing is the shooting and production of the drama.

If you want to say the most expensive, it may still be the shooting and production. A 500,000 film may cost 100,000 yuan for IP and scriptwriting in the early stage, and the remaining 400,000 mainly happens in shooting. The shooting cycle of short plays is about 7 to 10 days, and the costs of cast members, costumes, scene props, etc. are all spent in 7 to 10 days after starting.

Deep ring: Short drama actors seem to be hard to be recognized by mainstream entertainment circles. Some film and television dramas explicitly say not to play short dramas when casting. What do you think of their development? This has also led to a chain of contempt. Big screenwriters don’t take short plays, and some actors from good schools in China Opera and North Film don’t shoot short plays. Short plays are the feeling of low in many people’s eyes. I wonder if you have any troubles in this regard?

Wang Xiaoshu: I can understand. First of all, it is a new thing. Objectively speaking, the short play business will last for two or three years. People don’t understand it or there are many misunderstandings, and we are very calm inside. Like the online novel industry in the early days, it has developed for more than 20 years since 2002, and then it has entered the mainstream field. The mainstreaming of short plays will also be an inevitable process.

The core of the content industry is the work to speak, whether the actors have acting skills or not, not by speaking, but the core logic is the satisfaction of consumers. Many actors were amateurs before cooperating with us. After cooperating with us, his fans may now reach hundreds of thousands or even millions, which is another way to grow.

Moreover, the fan stickiness of the head comedian is very scary. If the actor’s Tik Tok account has millions of fans, and there are dozens of fans, each with 500 people, then after a play starring him is launched, everyone in the group will comment, like and forward it. I personally think that actors in medium and long plays may spend the same money, but actors in short plays bring millions of fans, and the cost performance is still very high.

Now doing brand short plays, many brand owners will name names and say that I want someone in this industry. He is in line with my brand tonality. This is a very obvious change, and advertisers have begun to pay the bill.

I think a lot of changes are continuous. Just like making the sea now, many medium and long videos are also making the sea for many years, but the short drama has not been out for a long time. Last November, ReelShort (a short drama platform of Chinese online subsidiary) surpassed Netflix in North America, which has produced a very important influence in developed countries around the world. This has never been done before, and many inherent impressions in ideas need to be slowly told with facts and time.

[About going to sea]

Deep ring: When talking about short plays going out to sea, I feel that the maturity of short plays in overseas markets is still much worse than that in China. However, many media reports have made a lot of money by going out to sea, including that foreign users will like the themes that are popular in China. Everyone has some inherent impressions. Are these impressions consistent with the real situation?

Wang Xiaoshu: I think there is a big deviation, and many concepts may be wrong. I made my own sea, and now the company that made the sea used to be my colleague, just everyone or that group of people. Our common understanding is that going to sea is not a short-term behavior.

Because China is a unified big market, everything you do in China is ready-made. You go overseas to do short plays, overseas users are newer and more fragmented, and there are cultural obstacles. You need to do infrastructure work first. On the one hand, it is necessary to cultivate users, so that users can understand short plays and consume them. Secondly, it is necessary to cultivate creators, including screenwriters and directors. For example, when we do short plays in Japan, we have to find new translations from the basic to the most basic, and we have to help Japanese creators how to write scripts, shoot short plays and find rhythm. In any case, this is not a short-term thing that will get excessive returns. Moreover, the cost of overseas drama production is much higher than that of China. If the cost is high and infrastructure is needed, how can we make money? This is so unreasonable.

Therefore, I think it is a long-term behavior to go to sea. All companies that do short plays to go to sea are more interested in the opportunities in this market in the next three to five years.

Deep ring: It’s like you just mentioned that there is a key node in China, that is, Tik Tok has released the jump of WeChat applet and opened up the whole market. Will there be such a node abroad?

Wang Xiaoshu: I don’t think it will happen in foreign countries, because its ecology abroad is originally in the form of App, and App actually focuses on long-term benefits. There is no so-called hypermedia abroad, such as Facebook, Google and TikTok, and the traffic is very scattered, so generally speaking, it won’t change overnight. Its more strength comes from long-term continuous improvement and steady promotion. From this point of view, I don’t think it will have such a particularly exaggerated moment, or it may have. The first two explosions in ReelShort suddenly brought the market up and drove many manufacturers to the sea. Recently, some colleagues and partners have talked to me, and everyone thinks that there will be some landmark events that show that this road is feasible. The course of history cannot be changed, but more people can come in and do it together, that’s all.

Deep ring: TopShort, Jiashu’s overseas short drama platform, launched the "Star Project" at the content production level, giving a list of eight finished dramas. What is the supply of this localized production team? What are the specific methods to cultivate creators in the local market?

Wang Xiaoshu: We are all doing it by local teams in Japan. I think the most basic method is recruitment. In Japan, we have offices, long-term employees, external partners and a lot of visits to many Japanese companies.

Deep ring: Will it appear that the Japanese team will be educated for him, the market will rise, and then people will do it themselves? How can the investment we sow in advance maintain its advantages in the subsequent outbreak?

Wang Xiaoshu: First, your App has users, and user accumulation is your asset. Take Japan as an example. Whether it is the download list or the best-selling list, our Topshort is higher than Netflix, which means that your progress is faster than Netflix at this stage. This is easy to understand. If your growth rate can be maintained for a long time, then you will naturally form your own barriers at the user level and the brand level.

Second, we have a cognitive lead. Now the scale of short plays in China market is very large, which is a good soil for content creators. What kind of lens should be used for shooting, how to adjust your color and how to play your lighting? Slowly, there is an understanding of specific methods and the precipitation of details. It will take a long time for the real local creators to reach the same level of cognition as us in short plays after they have completely grown up.

I think many local talents don’t care so much about which company he must serve. In fact, it is more about which company will have better personal growth and economic returns. I think our enterprises in China still have advantages in this respect. They dare to give new people opportunities and invest in new people to learn. I believe that you have trained 10 such directors, and eventually two or three people think you are very good. This is your precipitation. In the long run, if you make a market in a country and continue to generate profits, you can still survive.

Deep ring: TopShort surpassed Netflix in Japan’s iOS. Why did it suddenly make such a breakthrough? What is the competition situation of short drama App overseas?

Wang Xiaoshu: Surpassing Netflix is a dominant result, and our process is always iterative.

Topshort is the same as ReelShort. Almost a dozen films have been filmed in Japan, and the App has been launched for a while. Our understanding of the Japanese market is improving. At the beginning, we translated dramas online and translated domestic dramas overseas. If the results are not good, then adjust, what kind of Japanese users like, what kind of aesthetics they have for actors, and constantly communicate with local creators.

To tell the truth, the taste of Japan will actually be heavier. Japanese dramas like cheating, but this is not a particularly big category in China. We are mainly fond of cheating. Cheating may be just a negative behavior of love rat, which leads to the tall image of positive people. But in Japan, cheating is the main line of a story, so we have to adapt to this change. Finding a creator is the same. In a local shooting team, it is very likely that the first one is not good, so remove it, and the second one is ok. Then we will see how to make progress and keep iterative growth.

In the process of adaptation, the most important thing is that the understanding of local users has deepened and the accumulation of local talents has become thicker.

Deep ring: Sora released everyone’s discussion, saying that the video generated by AI was the first to subvert the short drama industry. I don’t want to ask Sora’s influence on short dramas, but I want to say whether we use AI in the actual operation process now. Is it happening if it is really practical? Or is it too far away?

Wang Xiaoshu: I think it is quite far away. Sora is really revolutionary, but my point of view is also very clear. It helps 90% ordinary people, but not 10% professional creators.

For example, my son will go to school to give a presentation the next day, which is very difficult for him, so Sora can definitely help most ordinary people. For another example, you are an ordinary user and want to show the decoration designer the decoration style you want. After you have mastered this tool, you can send a video to the designer, and people will know how you want to feel.

But for us, a professional creator of 10%, what we pursue is the optimization of content quality, not the reduction of cost. Because the cost reduction is meaningless in some ways, just like when we shoot a film, there are tens of millions of top-ups in China. At this time, cost is not our most consideration. What we consider is how to make high-quality content.

Therefore, the main value of Sora is to reduce the cost of video production extremely, so he must help ordinary people. Ordinary people can’t make videos or it’s very difficult to do them, so AI is very helpful to him. For professional creators, a thing has a cool effect. If you tell others that it is made by robots, everyone will feel amazing, but if you tell them that you need to pay to see it, I don’t think most people will watch it.

To put it bluntly, it’s all driven by commercialization in the end. Professional content producers are faced with the consumer market where the public pays. A 100-minute short play costs an average of 500,000 yuan, which is a great cost advantage compared with tens of millions of movies. If there is a technology that can make the cost of short plays change from hundreds of thousands to tens of thousands of dollars, but the effect may be much worse than hundreds of thousands, then I think the payment logic will not stand.

CCTV News:Recently, influenza is in a seasonal epidemic period. Then, what is the current and future epidemic situation of respiratory infectious diseases in China? What should I do if I get respiratory infectious diseases? In view of the public concern about the hot issues of respiratory disease prevention and treatment, let’s understand them one by one.

According to the influenza surveillance data released by the China Center for Disease Control and Prevention, at present, more than 99% of the influenza detected in the northern and southern provinces are H1N1. Then, let’s first take a look at the current highest incidence of swine flu.

Question: What is H1N1?

Influenza viruses are divided into four types: A, B, C and D. Influenza A, which appears most frequently recently, is highly contagious and easily spreads among people, resulting in a cluster epidemic. Influenza virus is easy to mutate and cause a wide range of epidemic. Although influenza A and common cold are both respiratory infectious diseases, their symptoms are quite different.

The typical symptom of swine flu is sudden high fever. Generally, the body temperature can reach 39-mdash on the second or third day after symptoms appear. 40℃, accompanied by chills, obvious headache, muscle and joint pain, fatigue, loss of appetite and other systemic symptoms, but also cough, sore throat, stuffy nose, runny nose and other respiratory symptoms. For children, the symptoms may be different from those of adults.

Five types of high-risk groups are easy to develop into severe cases.

Experts say that H1N1 is a self-limiting disease, and most people can heal themselves in about 7 days, but it is easy to cause complications for some people, such as bacterial pneumonia, necrotizing encephalopathy and myocarditis.

According to the influenza diagnosis and treatment plan issued by the National Health and Wellness Commission, five types of high-risk groups are very easy to develop into severe cases, so we should attach great importance to it and detect and treat it as soon as possible. These five groups of people include:

Children under 5 years old (children under 2 years old are more likely to have serious complications);

Age ≥ 65-year-old people;

Accompanied by the following diseases or conditions: chronic respiratory diseases, cardiovascular diseases (except hypertension), nephropathy, liver diseases, blood system diseases, nervous system and neuromuscular diseases, metabolic and endocrine system diseases, malignant tumors, immunosuppression, etc.

Obese (BMI greater than 30);

Pregnant and perinatal women.

How to use the medicine when the flu is "recruited"?

According to experts, once symptoms such as upper respiratory tract infection and fever appear, you should grasp the gold for 48 hours, check yourself in time or go to the hospital for treatment. With the increasing number of people infected with influenza, how to take anti-influenza drugs oseltamivir and mabaloxavir has also attracted much attention.

Li Dong, chief physician of Beijing You ‘an Hospital, once said that the advantage of mabaloxavir is that it only needs to be used once, while oseltamivir needs to be taken twice a day for five days. In addition, mabaloxavir is approved by the state for people aged 5 and over. Because its effectiveness and safety have been verified for many years, oseltamivir can be used for children over 1 year old, even under special circumstances, if doctors think that the risk of influenza is high, they can also use oseltamivir.

No matter what choice you make, the doctor suggests that both of them are prescription drugs and must be used under the guidance of a doctor or pharmacist. Many people regard oseltamivir as a "specific drug" against influenza A and B viruses, but some people are worried that if oseltamivir is eaten too much, it will lead to drug resistance.

Question: Will oseltamivir be resistant?

Director Li Dongzeng said that no obvious drug resistance has been detected at present, but it is still necessary to emphasize rational drug use and not to stop drug blindly and prematurely. Because some people may feel that their symptoms have eased after using it for a day or two, they stop taking the medicine. If they stop taking the medicine too early, the virus in their bodies may not be removed, and drug resistance will easily occur at this time, so it must be enough for routine use for 5 days.

Why should children use antitussive drugs with caution?

Cough is a common manifestation of respiratory tract infection. The National Health and Wellness Committee introduced at a recent press conference that children should use antitussive drugs with caution, and many people have some doubts about this. Why should children use antitussive drugs with caution?

Xu Baoping, chief physician of Beijing Children’s Hospital affiliated to Capital Medical University, said that cough is actually a normal physiological reflex, and its main purpose is to help expel sputum and pathogenic microorganisms secreted in the airway. However, antitussive drugs inhibit cough, which is not conducive to the discharge of sputum. However, careful use does not mean that it must not be used. If the child has a particularly severe dry cough, it can be used for a short time. As the course of the disease progresses, he may soon become coughing with phlegm. At this time, it is necessary to change the medicine in time and replace the antitussive drugs with expectorants.

Experts say that if children have the flu, using antitussive drugs may cover up some symptoms and even induce some other diseases. Even if you choose to use antitussive drugs, try to choose non-dependent drugs and take them according to your doctor’s advice.

Can you take a bath after suffering from swine flu?

Recently, the topic of "A woman with H1N1 flu can’t move her hands and feet after taking a bath for 4 days" rushed to the online hot search, which triggered netizens’ attention and heated discussion. So can you take a bath after suffering from swine flu?

Zhou Qingtao, deputy director of the Department of Respiratory and Critical Care Medicine of Peking University Third Hospital and director of the Department of Critical Care Medicine, said that generally speaking, if the fever of H1N1 has gone down or the condition has improved, you can take a bath, pay attention to the appropriate water temperature, dry your body in time after bathing, and pay attention to keeping warm so as not to aggravate the condition. Bathing is not recommended for those patients who are suffering from fever or serious illness, which may lead to aggravation and even danger.

Office of the State Administration of Coal Mine Safety on the convening of

Notice of the national video conference on coal mine safety production

Letter from the Coal Safety Supervision Department [2018〕25number

scheduled to2018yearfourmoon27Sunday (Friday) afternoonthreeAt that time, a national video conference on coal mine safety production was held, and Huang Yuzhi, deputy director of the emergency management department and member of the party group, secretary of the party group and director of the State Administration of Coal Mine Safety, attended the meeting and delivered a speech. The relevant matters are hereby notified as follows:

I. Contents of the meeting

In-depth study and implementation of the spirit of the 19th National Congress of the Communist Party of China, the Third Plenary Session of the 19th Central Committee, the National "Two Sessions" and the central leading comrades’ important instructions on safety in production, implementation of the requirements of the video conference of the State Council Safety Committee Office to strengthen safety in production and prevent serious accidents, and summary of coal mine safety in the first quarter. Re-mobilize, re-deploy and re-promote the special actions to crack down on and focus on rectifying illegal activities in coal mine safety production according to law and the special supervision of "one ventilation and three defenses", make overall arrangements for the next stage of coal mine safety production, resolutely prevent and contain serious accidents in coal mines, and create a good coal mine safety production environment for promoting the smooth progress of institutional reform.

Second, the meeting place and participants

(1) the main venue.

department21No. Office Area (Hepingli North Street21Number)A511Meeting room: relevant leaders of the State Administration of Coal Mine Safety, all cadres of the organs, in charge of the headquarters of the central coal-related enterprises in Beijing, and the main person in charge of the safety supervision department.

(2) Sub-meeting place.

Video conference rooms of provincial safety supervision bureaus, provincial coal mine safety supervision bureaus and their resident supervision sub-bureaus: heads of coal industry management and coal mine safety supervision departments of coal-producing provinces (autonomous regions and municipalities) and Xinjiang Production and Construction Corps, heads of coal industry management and coal mine safety supervision departments of coal-producing cities (prefectures), heads of provincial coal mine safety supervision bureaus and resident coal mine safety supervision sub-bureaus; Chairman or general manager of subsidiaries of central enterprises and local state-owned coal mining enterprises (groups), deputy general manager in charge of safety and production, chief engineer and mine managers and secretaries of subordinate mines, and main persons in charge of some township coal mines (determined by provincial coal mine safety supervision bureau or supervision sub-bureau).

III. Other matters

(a) please the provincial coal mine safety supervision bureau is responsible for forwarding this notice to the resident provincial coal mine safety supervision and coal industry management departments, notify the subordinate supervision branches to attend the meeting, and arrange relevant departments and coal mining enterprises to attend the meeting nearby. Each coal-producing city (prefecture) coal mine safety supervision department and coal industry management department shall be notified by the provincial competent department respectively.

(2) Please submit the list of participants (registration receipt) to the unit attending the meeting at the main venue.fourmoon24Sunday (Tuesday) afternoonfiveSubmit it to the office of the State Administration of Coal Mine Safety in writing before (contact person and telephone number: Liu Yizhe,010-64464032, <With fax>）。

(three) the provincial coal mine safety supervision bureau and its subordinate supervision branch to do a good job of meeting, notify the participants in advance.10Minutes to be present, serious meeting discipline and order, to ensure the meeting effect.

(4) Please ask the Communication Information Center to make relevant preparations, and notify all the meeting places to start debugging as required.

Attachment: Registration Receipt of Participants　　　

Office of State Administration of Coal Mine Safety

2017yearfourmoon18sun

　　Xinhuanet Nanchang April 15 th New Media Specialist (Reporter Yu Xianhong Gao Yuliang) Recently, a news that "nurses in Jiangxi Children’s Hospital stole high-priced life-saving drugs for children" spread on the Internet, causing widespread concern in society. On April 15, the reporter was informed that after the incident, the hospital immediately launched an investigation, organized experts to consult the children, and suspended the nurses involved.

　　According to media reports, recently, a 4-year-old child in Nanchang, Jiangxi Province should have been injected with gamma immunoglobulin (hereinafter referred to as gamma globulin) when receiving hospital treatment. However, during the infusion process, the family members of the children found that "the drug drip speed is faster, and there is no bubble in the drip". Since then, the hospital staff admitted that the child was injected with "glucose infused with an empty bottle of propylene ball".

　　After the incident, Jiangxi Children’s Hospital immediately launched an investigation. According to the survey, on the morning of April 11th, Peng Na, a nurse in rheumatology and immunology department of the hospital, found that the number of drugs left did not match the total amount of the doctor’s advice, and one bottle was missing. Because it is a valuable medicine, Peng Na was at a loss for a moment, afraid of taking responsibility and worrying about paying for herself. She took 20 ml of 5% glucose with an empty needle and injected it into the finished bottle of propylene ball for infusion to the children.

　　After the head nurse knew what had happened, she immediately asked Peng Na to borrow a bottle of gamma pills from the pharmacy for supplementary infusion, and finally completed the dosage of gamma pills needed by the child. No adverse drug reactions were found after observation. Afterwards, the head nurse led Peng Na to apologize to the children and their families in person.

　　Since then, the hospital organized an expert consultation, and experts agreed that the head nurse’s timely treatment did not have adverse effects on the child’s health. At the same time, the management doctor and the superior doctor are arranged to make ward rounds for diagnosis and treatment every day, and the nursing work is carried out in strict accordance with the doctor’s advice, and the patrol is strengthened to closely observe the situation of the children.

　　In response to Peng Na’s wrong behavior, Jiangxi Children’s Hospital has dealt with it seriously: First, it immediately suspended its duties for introspection and stopped paying all wages and benefits; The second is to make a written examination, and the whole hospital informed criticism; The third is to carry out professional ethics education in the whole hospital to alert the cadres and workers of the whole hospital to take this as a lesson.

　　At the same time, the responsibility determination of the nurse has been handed over to the public security department for investigation, and the progress of the investigation will be announced to the public at the first time.

Special feature of 1905 film network Is flow the original sin?

The Mid-Autumn Festival in 2019 just passed is far more exciting than people think. The box office performances starring Sean Xiao and Meng Mei Qi exceeded expectations, making streaming movies once again the focus of public opinion. Those who have experienced the "Rashomon" failed to achieve great market ambitions.

The "007 Edition", in which the reasoning scenes plummeted and the proportion of fighting scenes soared, created the best box office in the mainland with a score of 160 million in the first week of its release. Nezha, which was released for 50 days, can still play, and won 61.36 million box office in three days, laying the foundation for the cumulative box office to exceed 4.9 billion.

The achievement of 791 million yuan in three days has created a new high in the box office of the Mid-Autumn Festival in film history. In addition to streaming movies, compared with Spring Festival, summer vacation and National Day, what is the future of the unpopular golden file represented by Mid-Autumn Festival is also a valuable thinking question.

How is the 791 million best Mid-Autumn Festival file made?

The market performance of the Mid-Autumn Festival in 2019 is as complete as the full moon hanging in the night sky during the holiday.

According to the statistics of 1905 Movie Network, the box office of Mid-Autumn Festival in 2019 totaled 791 million yuan, an increase of 260 million yuan or 48.96% compared with last year’s Mid-Autumn Festival. Among them, the cumulative box office excluding service fees was 724 million, which was 605 million in the same period in 2015, an increase of 19.6%.

On the day of the Mid-Autumn Festival, the national box office closed at 364 million, surpassing the single-day record of the Mid-Autumn Festival in 2017 (355 million) to a record high. The box office data hit a new high, and the number of people watching movies soared. According to statistics, during the Mid-Autumn Festival, the number of people watching movies nationwide reached 23.42 million, an increase of 53.5% compared with the same period last year.

In terms of new films, "Zhu Xian I" won the championship with a score of 270 million in a controversy; Detective Conan: Boxing of the Qing Dynasty has accumulated 160 million box office, ranking second in the Mid-Autumn Festival box office; "Little Wish" ranked third, with a cumulative box office of 120 million.

The net text "Zhu Xian" Douban score is 8.1.

As a classic Xianxia work in the age of network literature enlightenment, the series of Zhu Xian created by Xiao Ding has become one of the collective memories of many post-80s and 90s. During the Mid-Autumn Festival, Zhu Xian I, a big-screen work adapted from the IP of the same name, won the Japanese box office championship with 142 million, 84 million and 42 million respectively.

According to the Japanese classic suspense animation IP, "Detective Conan: Boxing of the Qing Dynasty" achieved 160 million results, surpassing last year’s 127 million box office "Detective Henan: Zero Executor" and became the best in this series. After fully exploring the box office in the stock market, the problem that the word-of-mouth of the film is difficult to incite the audience in the incremental market other than the core fans to enter the market has still not been effectively solved.

The ill-fated Little Wish failed to realize the ambition of the box office market. Although events such as the battle for the leading role have created enough pre-screening heat for the film. However, these concerns have not been translated into box office performance based on content quality.

In terms of old films, the ones that were released in advance made a box office of 93.055 million, ranking fourth at the box office. During the schedule, the comprehensive cumulative box office of the film exceeded the 200 million mark. Followed by "Nezha" made 61.365 million box office, and the cumulative box office exceeded 4.9 billion.

It is worth mentioning that five animated films contributed 317 million box office, accounting for 40% of the total box office. Under the premise of multi-file shifting, it is not easy to get the best score in film history in the Mid-Autumn Festival in 2019. As of September 15, the total box office in 2019 was 46.248 billion, a difference of 1.2 billion compared with 47.449 billion in the same period last year, and the downward pressure cannot be ignored.

Is the streaming movie a false proposition?

"If the door of domestic science fiction movies is opened, then the door is closed."

During the summer vacation, this "God Comment" of netizens can be short-listed in the top ten classic movies in 2019. However, the box office fiasco of Shanghai Fortress is more easily interpreted by the public as the end of the era of streaming movies.

However, Zhu Xian I, starring Sean Xiao and Meng Mei Qi, has a low rating and a high box office, which makes people feel confused about the "rejuvenation" of streaming movies. Is the streaming movie really back, or has it never left?

The summer of 2019 was hailed by the industry as the "last supper" of domestic costume dramas, and the anxiety and expectation carried by the schedule were comparable. In the end, Sean Xiao and Li Xian became the biggest winners. The former has become a new quasi-first-line star from the small transparency in the circle, and its ability to bring goods has yet to be tested. Meng Mei Qi’s fans’ spending power can be seen from his debut in the krypton voting program Creation 101.

However, only on this basis, it is still open to business to define "Zhu Xian I" as the rejuvenation of streaming movies, which broke 200 million box office in three days. There is no denying that the quality of this film is hard to pass. Taobao Film’s score dropped from 8.4 to 7.7, Cat’s Eye from 8.6 to 7.8, and Douban from 6.1 to 5.3.

Before the release, most viewers didn’t like the film. With low expectations, the advantages of the film are more easily amplified. Some pertinent comments have also become praise for the film. Driven by curiosity, many viewers walked into the cinema. The book powder plot of the original IP is also one of the important reasons why the film has achieved relatively good box office results. Some book powders just joined the movie-watching army with the mentality of whether the original work was "disfigured".

Xiao Zhan became popular in The Untamed.

In addition, after The Untamed, the potential flow of Sean Xiao was at a high level, and the release of Zhu Xian I just gave an outlet. If this phenomenon of low rating and high box office reappears in its starring film project, it may be more meaningful for people to discuss the current situation of streaming movies.

No matter what the phenomenon is, existence is reasonable. There is no natural opposite between the starring flow and the quality of the work. A movie has both the fundamentals of fixed traffic and the ceiling of box office, so why not?

Where is the non-popular golden stall worth thinking about?

Before the Mid-Autumn Festival in 2019, with the promotion of "Luo Xiaohei’s War", "Hypnosis Judgment" and many other films appeared file-shifting behavior. During this period, only one imported film with a low right to speak was airborne in this slot.

For those films whose files are withdrawn due to non-objective factors, the withdrawal from the Mid-Autumn Festival file more or less reflects the film’s pessimism about the box office capacity of this slot. In addition to the three popular golden schedules, small schedules such as Mid-Autumn Festival, Qingming Festival and Dragon Boat Festival are "tasteless to eat, and they are abandoned" for most filmmakers.

According to statistics, the best box office performance of non-popular prime time in a year is 1.518 billion in May 1st, 2019. This is in stark contrast to the box office results of the Spring Festival, summer vacation and National Day. Of course, the disadvantage of the number of days in the schedule is one of the reasons that cannot be ignored, but it is not the decisive factor.

"Domestic filmmakers don’t know enough about the schedule, and they are overly superstitious about the big schedule, which leads to overheating of the hot file and cooling of the cold file. We must improve our understanding of the schedule, the role of the schedule is over-mythical, movies sell content, and good content can be sold in any file. " A senior filmmaker with more than ten years of experience told Xiao Dianjun.

"For example, for a blockbuster, the competition is great in the big schedule, and it gets 20% of the films, and it is the only one in the cold schedule, and it gets 40% of the films. More than 90% of the domestic films choose the former. This is a cognitive mistake." In his view, breaking the excessive "superstition" about the schedule has become the primary key factor to solve the problem. Under the premise that the film quality determines the box office capacity of the schedule, it has become a new trend to keep the film file.

In addition, the formation of the schedule is not only the length of the holiday, but also the maintenance of the file. The New Year’s Eve file, which is now separated from the Spring Festival file, is cultivated by Feng’s comedy.

"Reunion 4" dominates the May 1 ST file

"The market competitiveness of the non-popular golden schedule is limited, which is caused by the long-term weakness of domestic films. Because there have been no blockbusters in the schedule, the blockbusters of my own family are not placed in this file, but everyone sees that" Reunion 4 "still makes the May 1 ST file invincible. However, if there are several companies willing to pile all the blockbusters in the May 1 ST file, they will definitely reach new heights. " A middle-level manager of an Internet film and television company said so. At the same time, he also said that because of limited production capacity, it would be good for a company to have an S-level project a year, and it will definitely be put in the big schedule.

From the survey feedback, the initiative to save non-popular prime files lies in the upstream of the film and television industry chain, not in the hands of downstream audiences. How to cultivate more 1 billion+golden files besides Spring Festival files, summer files and National Day files has become a more valuable thinking question for the domestic film market.

　　December 31st every year.

　　Shencheng two department stores

　　First Yaohan and New World City

　　Will extend business hours.

　　Fill up the festive atmosphere with fancy promotions

　　Ignite the enthusiasm of Shanghai’s commercial New Year consumption.

　　Yesterday was the last day of 2024.

　　These two main battlefields of Shanghai’s New Year’s Eve promotion

　　As usual, ushered in a steady stream of passengers.

　　Multiple concessions superimposed on government subsidies

　　Attract customers to be generous.

　　Consumption enthusiasm is high.

　　Constantly refresh sales records

　　Three floors inside the gold counter and three floors outside.

　　Someone spent 1.5 million yuan to purchase goods.

　　At ten o’clock yesterday morning.

　　First, Yaohan’s popularity is high

　　Gold jewelry counter

　　Be surrounded by three floors inside and three floors outside.

　　Traditional big promotion full coupon

　　A large part of the coupons sent went here.

　　On-site customers are exaggerating!

　　More customers throw more than 100 thousand yuan to buy gold.

　　Customer:

　　It’s quite exaggerated. I didn’t expect to buy gold and rob it.

　　Customer:

　　Buy up and don’t buy down.

　　customer

　　I bought clothes, bought more than 100 thousand, gave more than 60 thousand coupons, all turned into gold, bought bracelets and the like, and bought more than 77 grams.

　　Centralized cash register

　　Frequent large orders appear

　　Great promotion even attracted

　　Many merchants come to Shanghai to purchase goods.

　　The shot is 1.5 million!

　　customer

　　Bought more than 200 thousand, bought clothes, and bought all the sizes here.

　　customer

　　We are from Nantong, and we do both online and offline. Today, we came to purchase goods, and about 1.5 million yuan was earned, and we bought bedding and the like.

　　Yesterday was 2024.

　　The last day of the government’s trade-in subsidy

　　Catch up with the full coupon

　　There are long queues at cashier points specially opened by merchants.

　　Customer:

　　The preferential strength is three arrows, and Shanghai’s market supplements, enterprises and businesses.

　　Annual work summary

　　I bought a massage chair. The original price was 33,800 yuan. After taking part in the subsidy, I lost 2,000 yuan and gave more than 8,000 coupons.

　　Busy sporting goods counter

　　Pile up the stock

　　Sales records have also been constantly refreshed.

　　According to a salesperson, the sales on that day are equivalent to the usual quota of two or three months. "The sales on December 31 last year were 2.9 million yuan, and this year it is expected to be 4 million yuan."

　　Another salesperson told reporters that the sales on that day had reached the highest single-store sales in the country. "Today, our sales are about 3 million yuan."

　　Zhang Chenghong, deputy general manager of Shanghai First Yaohan, said.

　　Open for 3 hours on the same day, passenger flow and sales

　　Both have exceeded the level of the same period last year.

　　Shanghai No.1 Yaohan

　　Deputy General Manager: Zhang Chenghong

　　We expect that the passenger flow of this activity should have a double-digit growth compared with the same period of last year, and the sales should also be close to double-digit growth, which will bring a satisfactory end to the annual sales of our mall.

　　Do not close for New Year’s Eve.

　　Open for 4 hours, sales exceeded 20 million.

　　Last night in New World City on Nanjing Road.

　　It is also very lively.

　　The consumption enthusiasm of citizen tourists remains high.

　　Many people took advantage of the last hour to place an order with passion.

　　Stimulated by delayed closing and coupons

　　Everyone bought it happily.

　　It’s also for the self after a hard year.

　　The best new year gift.

　　The reporter saw at the scene.

　　Cosmetics, clothing, gold jewelry, etc.

　　Fully participate in discount promotion.

　　Even the watch counter participated in the discount this time.

　　Attract a steady stream of passengers.

　　The cashier has been waiting in line since it opened in the morning.

　　Customer:

　　Last month, it also had activities, about 79% to 20% off, and today it’s 77% off, and then I sent a sample.

　　Customer:

　　I bought a women’s watch two days ago, and my husband came to buy another one today because there is a discount.

　　A salesperson at the watch counter revealed that many guests took the year-end bonus to spend. "We basically sold more than 3 million watches in these two or three days and sold 50 watches."

　　Nanjing Road will be launched last night.

　　"Don’t close for the New Year"

　　Business hours of 31 merchants such as New World City

　　Will be extended to 0: 30 the next day.

　　The deputy general manager of New World shares told reporters.

　　Open for 4 hours that day.

　　Sales have exceeded 20 million yuan.

　　Shanghai New World Company Limited

　　Li Wei, Deputy General Manager

　　The climax is after 19: 00, because all the commodity discounts are superimposed again, and the coupon discount of 1000 for group purchase of 500 groups in the pedestrian street the day before is very strong. It is estimated that sales today will increase by about 15% to 20% compared with the same period last year.

　　New clothes in major business districts

　　Young people’s new year’s eve

　　In order to welcome the new year

　　Major business districts have put on festive new clothes.

　　In Xujiahui Huijin department store

　　Commercial landmarks such as Mira City.

　　Have designed a beautiful moral

　　Interior and exterior layout, interactive devices, etc.

　　Become a citizen to take pictures as a souvenir.

　　A good place to feel the atmosphere of the new year

　　Step into Huijin department store

　　The first thing you see is

　　"Spirit snake auspicious splendid New Year" beauty-aging device

　　This work comes from intangible cultural heritage.

　　—— Representative of Suzhou Paper-cut Provincial Projects

　　The hand of the inheritor Wu Yonglin

　　The snake body is designed in the shape of an "8"

　　It symbolizes wealth and good luck.

　　And the paper-cut pattern on the snake

　　Such as copper coins and peonies

　　It represents wealth and prosperity.

　　Not far from the city of Mero.

　　Also surrounded by a strong New Year atmosphere.

　　"Go to the new Forbidden City" and "Snakes turn to Qian Kun"

　　New year’s limited flash shop

　　There are also interesting chapter-knocking games.

　　Waiting for everyone’s participation

　　There are shopping malls.

　　Before the New Year’s Eve promotion

　　Launch a number of theme pop-up shop.

　　And immersive experience theater.

　　Many customers said

　　This new year’s eve approach is very novel

　　Customer:

　　It’s a way to welcome the new year’s eve. It’s newly opened here.

　　Customer:

　　I like this IP very much. I have been following it for more than ten years, so I came as soon as it was opened. It is also quite good to celebrate the New Year in this way.

　　Did Fang friends buy it in buy buy last night?

　　What gift do you give yourself and your family?

　　Welcome to the comment area to share your message ~

　　Reporter: He Xiao, Gong Haiyun, Gao Yuan, Li Dexiang, Cao Xiangyu, Chen Wenqing

1905 movie network news 　Since the release of domestic animated films, the box office has exceeded 100 million in a single day for a week in a row, and accumulated 1.5 billion before the deadline, ranking Top2 in the history of animated films. Recently, the film released the concept map of the scene, revealing nine scene design concepts such as Chentangguan, Loi Wo Temple Exterior, Chentangguan City Gate, Downtown, Dragon Palace Hall, Fishing Village, Nezha Iceberg, Mountain River Palace and Mountain River Country Map, revealing the grand and fantastic world view of the film, which is spectacular.

"Nezha" is based on the original "Romance of the Gods", and many settings of the film are based on the traditional culture of China, which is well documented. For example, the pattern of the figure costume combines the description of Shang Chao’s costume and the Romance of the Gods, and the image of the enchanted beast refers to the bronze statue of Sanxingdui. The map of mountains and rivers is inspired by China’s ancient novels and bonsai art, and each lotus leaf is a small world.

A lotus leaf embeds a world, and a teenager holds up a world. Behind a shocking art about "Nezha" is the ingenuity of making perfection and the consideration and revision of the design for thousands of times! The film inherits the hard-core quality of Chinese culture, is not afraid to break through the shackles of innovative expression, and has three heads and six arms to show its power, in order to get this great reputation!

Special feature of 1905 film network Our interview with screenwriter Jia-nan Ran was about the second day after the film was released. At that time, there were a lot of comments on the Internet, and the box office results were even more straightforward.

"I have been watching the box office last night and brushed it to 12 o’clock. My school sister (Li Huiyan, another screenwriter of the movie "Red Fox Scholar") is also brushing watercress comments and telling me that the more I watch, the more I can’t sleep. " There was some helplessness and disappointment in her tone, and finally she confided, "Just do what you can."

This sentence seems to be her comfort to herself, and it also seems to have laid a certain conclusion for our interview that day.

Jia-nan Ran is the first screenwriter of the film "The Scholar of the Red Fox", and took over this project in 2015, before Jiang Zhiqiang, the owner of Anle Film.

After the manuscript was finished, there was no following for this project. As a result, it came to Boss Jiang in 2018. At that time, the two were engaged in the creation of the project "Hulu Brothers", so the other party asked the screenwriter Yang Weiwei to retouch this script many years ago in order to make her concentrate more on it.

"The general things haven’t changed, just some minor changes. The main thing is to change the setting of the black fox. Originally, I wrote about a river god, and the final battle was in the river, with a lot of ice, snow and water. I think it may have been changed because of the cost of special effects. "

Anyway, after the film "The Scholar of the Red Fox" was made, it was a thing of the past for the screenwriter.

At present, she also needs to face a film in the post-production stage, a live-action film "Hulu Brothers" in preparation, and at the same time, she is incubating a fantasy-themed online drama.

From the beginning to the present, Jia-nan Ran has been tied to fantasy movies.

However, often after the release of such films, it is easy to be spit out, "the script is thin and the network is large." At the same time, some people will jump out and ask why China’s screenwriters can’t make their own "Lord of the Rings" and "Game of Thrones".

All the spit and questions, we talked about in detail in the chat with Jia-nan Ran, and even about whether the universe of "Feng Shen" can meet the expectations of netizens, the answers are solved here.

"Five years ago, the setting was very new. I was afraid to write about love."

Some people say that movies are made for people in the future. The current creation is to cater to the audience when the film is released. If it is not entertaining enough, it will be difficult for the audience to pay the bill.

So is the movie The Scholar of the Red Fox.

Throughout the conversation, Jia-nan Ran talked about it countless times. "Many things in the movie are now, which is really too old."

In 2015, there were many fantasy movies, series,, and so on. In these works, in the end, most men and women set out with a mission and finally felt the world with love.

And the "Red Fox Scholar" is a double male-dominated model, and the fox in it is still male. At that time, such a setting should be eye-catching. "And there is no love in it, and the type is a road film."

But nowadays, with the increasing number of film and television works of the two male masters, all kinds of online texts of the same type have swept through various forums, which has already made some viewers less interested in the setting.

As a screenwriter, what Jia-nan Ran can accomplish is the creation at that time. When she got The Red Fox Scholar, what she thought most was how to convince the audience that people and demons can coexist in this world.

She chose the point of "examination" to solve the problem. "This point will resonate with the audience in China, because China itself is a big country in examination."

"How did these monsters come from? Monsters in China are not like vampires in the west, they can take a bite, or werewolves are prolific. Our monsters are cultivated by themselves. In a sense, cultivation is also an examination system. " Therefore, grasping this point, Jia-nan Ran extended the fox demon in the original work, which simply returned to earth to repay his kindness, to a new setting.

In addition, she also made some clever thoughts on the setting of villains.

In the original version, the villain is a river god. He was enslaved by the fox spirits and wanted to get rid of them, so he always wanted to steal Bai Dan from the fox family. "This kind of relationship is like between Bai Shisan and toad essence, and the other party is under his command." At present, these settings have been slightly modified in terms of production cost.

Of course, we can still spy out the relationship between the original characters through the relationship between black fox and lotus essence, and between Bai Shisan and toad essence.

She didn’t go back to the past details of The Red Fox Scholar. Looking at the comments on the Internet, she seemed to understand everything, especially the love drama between Wang Zijin and Lotus Essence. "I also agree that the emotions of the characters here are turning too fast."

"A person who suddenly gives unconditionally to his other half can make the other person moved and fall in love with him. This emotional transformation is indeed a bit unacceptable to the current audience. " Jia-nan Ran even admitted that he was afraid to write love plays, especially when people of different times had different attitudes towards love, so there would be a generation gap.

After the film "Red Fox Scholar" was released, she and the original author were scolded by many people in private letters, but she was fearless. "It’s good, I told her that if someone scolded them, it would prove that they saw it, and the biggest fear was that no one cared."

Indeed, in this industry, black and red are also red. If you create with such a mentality, you may not be bound by the negative of the past.

"Feng Shen" is not the first story about father-son relationship in China’s "Quan You".

Among Jia-nan Ran’s future works, Feng Shen is definitely the most anticipated one by the audience.

Three films have been written for four years. In her words, the whole process is "vomiting blood production". Compared with "Red Fox Scholar" for addition, "Fengshen" for subtraction.

Like The Journey to the West, The Romance of the Gods is a classical mythological novel known to most audiences, but unlike the latter, the film and television works of The Romance of the Gods in recent years mostly focus on da ji, Nezha and Jiang Ziya.

So, how to adapt it without "offending" the audience?

In the original world view, it has two sects, but they are integrated into the living environment of human beings, and at the same time, they are based on human beings. Human beings drive the gods to sacrifice to the emperor through power, and at the same time they are subordinate to the imperial power.

"It’s not like the fantasy stories in the west, with fairy tribes, dwarves and so on, because from the perspective of European history, they used to be divided. However, Chinese dynasties have lived together, and people from any nation-state can live together. Therefore, on this basis, it also determines the uniqueness of China’s fantasy story. "

This uniqueness makes the trilogy of deities not a "right tour" of China, but a fantastic masterpiece that can better reflect China culture.

Re-creating a world view suitable for film and television is one of the most difficult parts of this work. "Fantasy movies must let the audience understand your world view in the first 15 minutes, and no new settings can be made at the end of the movie."

Besides, hundreds of characters are involved in The Romance of the Gods. How to make it easier for the audience to understand the characters in a concise world view has become the most tormenting place for Jia-nan Ran and her partner.

"We did some simple mergers and deletions from the beginning, and then wrote a basic manuscript for them to do market research. As a result, the survey gave us feedback. Many post-90 s people couldn’t stand it and asked why there were so many people and what they were doing. "

The results of this survey have made the whole screenwriter team awake a lot. It turns out that many people don’t know the Romance of the Gods, but only know a few key figures.

"We have spent the effort and workload of completely rewriting a story and adapting it in details and events. We want to re-refine the familiarity of the audience and embed it in the film" Feng Shen "." Jia-nan Ran told us that after getting the feedback from the survey, they drastically cut the original work.

The trilogy of deities will be three films with independent cores and interlocking links. "But it’s definitely not about power. Now the audience doesn’t like watching such movies. Director Wu Ershan has a strong appeal. He wants to be a mythical heroic epic of China and tell a story about the theme of good and evil in China that no one has ever told. "

According to her, the first part of "Feng Shen" will be the story of two men, "their emotional entanglement with their father."

She just finished watching a version in Wu Ershan’s studio a while ago, and this is the second version she has seen. "Now the time is still a little long, and we all think we can delete it again. The director understands, but he may still be a little entangled." She also told us that compared with the previous edition, many wonderful plays have been cut off this time. "But there is no way, and finally we have to consider the film arrangement for the market."

"Hulu Brothers is hard to refuse."

In director Wu Ershan’s current work, in addition to the trilogy of deities, Under One Man has also entered the preparatory stage.

"I refused." Jia-nan Ran said to us, "There happened to be something at home, so I recommended two school sisters to him."

Although she refused the adaptation of the fantasy IP "Under One Man", she still watched all the animated series of "Under One Man". "It’s too difficult, and it has many characters, but unlike the Romance of the Gods, many people don’t understand it. Every character in it has its own fans, and the audience of this IP is highly coincident with the current consumer groups of movies, so many characters can’t move. "

Jia-nan Ran sighed with emotion at Wu Ershan’s courage, because the creation of the live-action movie Hulu Brothers made her understand how difficult this "pit" was.

This is also a work that needs to be added, but its addition is different from the Red Fox Scholar.

"This animation is familiar to everyone, but it doesn’t have enough worldview to support him to become a movie. For example, why won’t grandpa be afraid of the seven dolls coming out of the gourd? How did the gourd baby come from? " At present, the screenwriter immediately analyzed the vacancy of film and television for us very professionally.

In fact, she also thought about rejecting Jiang Zhiqiang, but never expected that Boss Jiang took out a thick stack of research reports. "This is the thickest research report I have ever seen. He found several people to write different versions of Hulu Brothers, including comedy version, blackened version and normal version &hellip; &hellip;”

Seeing such a result, the "impossible" in Jia-nan Ran’s heart was slowly blotted out.

Although it is a fantasy movie, every time she writes it, she still has to find the corresponding age and geographical location for the whole story, so that the story itself can be more grounded. "I checked a lot of books, and I also saw everyone’s brain holes in Hulu Brothers on the Internet, and finally set the story in Yunnan-Guizhou area."

In the adaptation, she absorbed many netizens’ interpretations of the original story and put all the characters into reality as much as possible, so that the audience can better understand the emotional motives inside.

Of course, when will this project be officially started? "I don’t know. The other day, Boss Jiang said that he wanted to talk to me. I hope he can tell me that this film is going to be organized."

The market has been changing, and fantasy movies have poured out from the past, and now they have entered a cooling-off period.

Themes range from the colorful The Journey to the West in the past to the colorful "Feng Shen" today. As for what the next theme will be, it is difficult for us to predict.

In Jia-nan Ran’s view, those mature IP works or folk stories on the Internet will become the "treasures" excavated by film companies. "Otherwise, many things will be difficult to solve".

After the interview, she talked to us about the trailer of The Monkey King that she saw in the cinema, and planned to take a look at it sometime. "After we finished" Monkey King Thrice Defeats the Skeleton Demon "with director Zheng Baorui, he also planned to do this project, but we all felt that it was difficult to do it. I want to see how the movies here are broken. "

　　[Introduction] American scholar Joseph Nye put forward the concept of "soft power", and the attraction of culture is an important part of it. Let’s take stock of 2016 and see how the "soft power" of China’s culture is constantly affecting the world.

　　The Supreme Leader’s Talk on Governing the Country is popular all over the world.

　　During the G20 Hangzhou Summit in 2016, what foreign journalists are most concerned about in the news center is whether they can get the book "The Supreme Leader’s Talks on Governing the Country". Shortly after the official opening of the news center on September 1, the "Supreme Leader’s Talk on Governing the Country" prepared by the organizer was taken into the airspace. China’s wisdom conveyed in the book deeply attracted Chinese and foreign journalists who came to interview.

　　Since its publication, The Supreme Leader’s Talk on Governing the Country has received sustained attention from the international community and aroused enthusiastic response. By the end of October, 2016, the book had been distributed over 6.2 million copies, including over 600,000 overseas copies, which achieved the highest overseas circulation record of Chinese political books in recent years, and also created the sales record of China’s book list varieties on Amazon.com in the United States.

　　Cao Wenxuan won the International Andersen Award, and China literature made the world sit up and take notice.

　　In April 2016, Cao Wenxuan won the "International Andersen Award", the highest honor in the field of international children’s literature, and achieved a zero breakthrough for China writers in this award. After winning the prize, Cao Wenxuan has always stressed on different occasions: "I am not a genius, but the overall level of China literature is constantly rising, providing a good platform for the world to see me."

　　Since the Nobel Prize in Literature was awarded to Mo Yan, a China writer for the first time in 2012, international literary awards have paid more and more attention to the development and breakthrough of China literature. Liu Cixin’s "Three-body" won the Hugo Award and was well received by overseas readers. Even US President Barack Obama brought a copy when he was on vacation in Hawaii.

　　Third, the translation project of China’s contemporary works has caused a whirlwind in the western publishing industry

　　In 2016, the translation project of China’s contemporary works organized and implemented by Publicity Department of the Communist Party of China achieved remarkable results. A large number of literary translations with profound thoughts, exquisite art and excellent production are striding out with the sincerity of the Chinese nation.

　　The writer Mai Jia has caused a "wheat whirlwind" in the western publishing industry. After his novel Decryption was published in western countries, it caused a great sensation and set a record for English translation and sales of contemporary literary works in China. "Decryption" not only won the market, but also won the praise of mainstream western media. More than 30 overseas mainstream media, such as The Wall Street Journal in The New York Times and BBC, reported on Mai Jia and his novel creation and gave high praise. Mai Jia said, "How we are infatuated with them today, they will be infatuated with us tomorrow. China’s works &lsquo; Go out &rsquo; We must fight a protracted war with optimism. "

　　Four innovationsclassicThe overseas tour of traditional Chinese opera fascinates foreign audiences.

　　What kind of Peking Opera movie can make Japanese audiences crazy? Following the overseas premiere of the 3D panoramic Beijing Opera film Farewell My Concubine at Dolby Theatre in Hollywood, USA, Farewell My Concubine, which won the "Lumiere Award", was shown for several days in the China Art Film Week of Tokyo Film Festival. Japanese audiences are full of praise for China’s bold attempt to display the classic Peking Opera art with 3D film technology. Over the past year, the overseas tour of Peking Opera film Farewell My Concubine in the United States, France, Britain and other countries has made Peking Opera go further into the world.

　　In December 2016, I, Hamlet, which was arranged by Zhang Jun Kunqu Art Center, was invited by many overseas performance organizations to come to Shakespeare’s hometown to perform Hamlet, which is the most familiar to British people, with China’s iconic traditional opera form Kunqu. Zhang Jun not only adapted Shakespeare’s famous works with ancient Chinese words and the rigorous qupai meter of Kunqu opera, but also challenged the four professions of "life, beauty and ugliness" by himself, giving the ancient Kunqu opera fresh vitality and conquering the London audience.

　　Fifth, China’s online novels lead European and American "otaku" crazy "chasing more"

　　This matter, many people did not expect. That is, China’s online literature has successfully gone abroad and landed in the secondary position in Europe and America, and its influence is beyond many people’s imagination. On the websites such as Wuxiaworld and Gravity Tales, which mainly translate China’s contemporary online literature, many foreign readers can see the grand occasion of "chasing after" Xian Xia, fantasy, romance and other novels.

　　Many foreign translation groups upload countless English texts every day, while European and American "otaku" seriously write long comments on books they like/hate.

　　The online novel "Panlong" is over, and western readers are waiting in line below to thank for the translation.

　　China has a long history of culture, and there are countless ancient books left behind, among which many precious ancient books have been exiled overseas for various reasons. The publication project of the Catalogue of Overseas Chinese Ancient Books initiated by Zhonghua Book Company has been listed as one of the five major points in the work of sorting out and publishing ancient books in the 13th Five-Year Plan, which will awaken more and more Chinese ancient books sleeping in foreign libraries, and more and more precious Chinese ancient books scattered around the world will be re-published in various forms, and the family background of Chinese ancient books will become clearer and clearer.

　　In 2016, this project has received positive responses from libraries in North America. At present, 13 overseas book collection institutions have joined the project of Overseas Chinese Ancient Books Catalogue. Why should we make every effort to compile a complete Catalogue of Overseas Chinese Ancient Books? Because if you want to know the influence of China’s ancient books and Chinese traditional culture on overseas, just look at it.

　　When Tang Xianzu met Shakespeare, the binary stars of Chinese and Western cultures shone.

　　Four hundred years ago, two bright superstars fell in the human starry sky. They belong to the East and the West, but they are immortal giants in the history of literature. Through centuries, people still enjoy their spiritual creation in theaters and books. On December 6, 2016, Chinese and British experts and scholars gathered in Shanghai for the "Dialogue across Time and Space &mdash; &mdash; Sino-British seminar to commemorate the 400th anniversary of the death of Tang Xianzu Shakespeare. Tang Xianzu’s meeting with Shakespeare indicates the broad prospect of China’s traditional culture going to the world.

　　In 2016, in order to commemorate the 400th anniversary of Tang Xianzu’s death, Shanghai Kunqu Opera Troupe rehearsed Tang Xianzu’s masterpiece Peony Pavilion, Purple Hairpin Story, Handan Dream and Nanke Story, which constituted a complete version of Linchuan Four Dreams. The series has held 42 performances at home and abroad, and it is hard to get a ticket everywhere.

　　Eight Jackie Chan hit a sky, and the Oscar lifetime achievement award went to Chinese.

　　On November 12, 2016, Jackie Chan won the Oscar Lifetime Achievement Award, and he was also the first Chinese to win this honor.

　　Jackie Chan spread China’s action movies around the world, and was the first actor to combine kung fu and comedy perfectly. More importantly, Jackie Chan opened a new perspective for foreigners to see a different China and a different Chinese. As Jackie Chan himself said, "The time when no one listened to Chinese is over!"

　　For the China audience, the childhood without Jackie Chan’s movies is certainly incomplete.

　　Nine China movies take advantage of the wind to go out to sea.

　　For many years, going abroad has been the goal of China film industry. However, the piecemeal state makes China’s films have little influence overseas. Now China filmmakers finally realize that unity is power. Going out to sea in groups has become a common choice for everyone.

　　On November 30, 2016, the Film Bureau of the State Administration of Press, Publication, Radio, Film and Television held a symposium on overseas work of "China Movies Showing All over the World" to discuss how to further promote the overseas influence of China films under the new situation.

　　More than 30 first-line film production companies, including Chinese Culture Holding Group, Chinese Film, Wanda Film, Enlight Film, Huayi Film and LeTV Film, actively organized groups. At the end of the year, the film "The Great Wall" was released, which was the first step out of the international packaging of China films.

　　Ten documentaries "Challenges Facing China" won the 68th Emmy Award in Los Angeles.

　　On December 16th, 2016, the launching ceremony of the third season of the documentary "Challenges Facing China" was held in Beijing.

　　The Challenge Facing China is a series of feature films produced by the Foreign Language Channel of Shanghai Radio and Television Station, which is hosted by robert lawrance kuhn, an internationally renowned expert on China. It is the first documentary on social reality in China to observe, study and analyze the current situation in China from the perspective of westerners. The first season of the film was broadcast in 2012, and since then, it has landed in many overseas mainstream media such as the United States, Germany and Australia. In the United States alone, its first and second seasons were broadcast on 210 public television stations. As of July 2016, there were more than 4,000 episodes, and the coverage rate in the top ten cities in the United States climbed from 70% in the first quarter to 96% in the second quarter.

　　"China has become the second largest economy in the world. The documentary we filmed is to tell the world a real China. " Kuhn said. The interview and filming of the program lasted more than one year, with a total journey of more than 40,000 kilometers. The program is simple, vivid and eloquent, explaining to the international community what is the "Chinese dream", how to realize it, what is the biggest challenge to realize it, and what it means to the world.

　　At present, this documentary has been recognized by a large number of audiences at home and abroad, and is known as "opening up the public opinion field between China and the West". It not only won many domestic awards, but also won the 68th Emmy Award in Los Angeles this year.

　　* This article is the exclusive manuscript of Wenhui. Unauthorized reproduction is strictly prohibited. | The picture comes from the network.

Film information

Director: Jaume Serra

Written by Byron Vilinger/Philippe de Brasi/

Starring://

Type: action

Producer country/region: USA/UK

Special feature of 1905 film network Released in 2018The CommuterIt is the fifth time that liam neeson has starred in this series of films.

Speaking of liam neeson, the movie that was first known to the audience in China should have been released in 1993. This film is famous all over the world, and the next year it won the Oscar Award and the Golden Globe Award for Best Film.

Schindler’s List movie clip

At the beginning of the Millennium, a new hurricane swept through the field of action movies. For a period of time, many action movies used it as a template, including.

Taken3 movie clips

In 2005, the famous French director who was a screenwriter for Taken3 was struggling to find a suitable hero. Coincidentally, he met liam neeson while attending the Shanghai International Film Festival in China. Luc besson has always admired liam neeson, and he immediately showed liam neeson the screenplay and urged him to take part in it.

This year, the film "Ice Road Rescue" starring liam neeson met the audience, which is the seventh time that liam neeson has starred in this series of films.

Although liam neeson is wrinkled and no longer young, he is the soul of the film The Commuter and the highlight of the film. You know, in the world of action movies, there is a saying: "There are four taboos in rivers and lakes: your courier, your dog, your friend, and liam neeson’s daughter."

Liam neeson made the list because his desperate efforts to save a woman in the movie Taken3 completely impressed the audience, and he was awarded the title of "the strongest dad on the surface".

In the movie, liam neeson moves in one go, but he is an action actor halfway through the transition. Apart from being passionate about action movies, I have no advantage. Liam neeson was 56 years old when he participated in Taken3, and he lost to young people physically. Moreover, he is a big guy, 1.93 meters tall, and it is a bit awkward to do actions in front of the camera. But in this way, he started an action legend.

Partner’s help

The successful transformation of liam neeson’s legendary action road is indispensable to the help of stuntman Mark Vanslow. Fanslo, who has always been keen on stunts, has been working with liam neeson since 2000, and it has been 21 years now!

Stunt Mark Vanslow

Although liam neeson learned boxing at the age of nine, he has a certain movement foundation, but making a movie still needs Van Slough’s professional instruction. Liam neeson also recognized Van Slough very much, and he often worked with Van Slough to design the martial arts movements of movies. Liam neeson said that working with Van Slough made him much younger.

Apart from Van Slough, another partner who helped liam neeson transform is the film director jaume serra. He injected a new bright spot into liam neeson’s action movies &mdash; &mdash; The suspense of the story.

Director jaume serra.

In this film, jaume serra has integrated multiple elements such as "suspense", conspiracy and plot reversal. In the closed space of the train he built, the audience in front of the screen also became a member of the film and could participate in the film more immersed.

This week, let’s go into the movie The Commuter and see how liam neeson will "outsmart" the enemy in this operation!

Saturday, August 7th

22:06 "A Good Film with an Appointment" Saturday Promotion Edition

22:15 The Commuter

Sunday, August 8

13:10 The Commuter

15:25 "A Good Film with a Date" Sunday Film Review Edition

Surprise notice

Monday, August 9th

22:30 Schindler’s List