By ZHOU QUAN

A poster for the VCD of the film Crouching Tiger, Hidden Dragon, winner of four Oscars.

AT the end of 2001, the film, Big Shot's Funeral, amazed the whole of Chinese moviedom by its 37 million yuan box office success. Invested by Columbia (Asia) Co., Ltd., and directed by celebrated Chinese director Feng Xiaogang, the film is about a few Chinese people who believe they can make a fortune by organizing the funeral of a noted American director who has died while shooting a film in China. Skilful techniques have been employed in this movie to satirize Chinese cultural circles. As a commercial film director, Feng Xiaogang has a large following, but he is also criticized for his mundane films that are seen by some as a means to ingratiate himself with the masses. Whether or not Feng, his audience, or Chinese film circles share the same opinion, with the coming of foreign movies and foreign investment, the main question is, can Chinese films survive, or do they face certain death? Finding a breakthrough for Chinese films has become a common goal.

Chinese Films in 2001

Director Chen Kaige.

Not one of the films made in the year 2001 could be called a masterpiece, and out of the 100 or so Chinese movies produced each year, only ten or so have been successful at the box office. The Southern Weekend sponsored the Most Appreciated Chinese Film of the Media in 2001, which covered two levels: that most appreciated by readers of the media, and that most appreciated by film critics. Out of the 14 movies contending, Gua Sha Treatment was the most appreciated by readers. Using the commercial Hollywood film narrative approach, this film centers on the phenomenon of culture shock, and serves as a bridge between different cultures, affecting both Eastern and Western audiences. According to statistics, Gua Sha Treatment earned 15 million yuan at the box office -- a considerable amount for a Chinese film.

The most appreciated film by media critics was Big Shot's Funeral, which documents Feng Xiaogang's search for a breakthrough, indicated through his change of theme from that of the everyday life of small potatoes to one of the vast and opulent background of a bubble economy. Although Big Shot's Funeral made a breakthrough due to its incredible plot, it nevertheless constitutes Feng Xiaogang's compromise of his artistic integrity in order to adapt to the conventions of commercial films.

Gong Li, one of the most popular actresses in China.

In the year 2001, Taiwan was faced with the similar problem of finding a breakthrough point. However, it was good to see that there were a number of films shot in, and reflecting the life of people in inland China at Taiwan's 38th Golden Horse Award. The big news from this year's awards was that two mainlanders, Liu Ye and Chun Hoi Lu, both from Central Drama Institute in Beijing, won Best Actor and Best Actress awards for their performances in Lanyu and Durian Durian.

Crouching Tiger, Hidden Dragon was undoubtedly the most successful film of 2001. It established a niche within international filmdom for Chinese film.

A number of new films that started shooting in 2001 that are to be screened in 2002, include the period costume film, Heroes by Zhang Yimou, and The Heroes of Heaven and Earth by He Ping. Directed by Lu Chuan and starring Jiang Wen, Xun Qiang (Looking for the Gun) is a promising commercial art film, and Spring in a Small City, a 1930s film classic, has been re-shot by Tian Zhuangzhuang. Being Together with You is currently being filmed by Chen Kaige, and Li Shaohong is to direct the film, Baby. With so many excellent directors, good prospects are indicated for the Chinese film industry in 2002.

The Coming of Hollywood Films

In 1995, The Fugitive was imported, marking the advent of Hollywood movies. According to Yang Buting, chairman of the board of directors of the Chinese Film Group Co., Ltd., with China's entry into the WTO, the Chinese film industry will face big challenges. How can Chinese films survive the increase of imported films given its current quality and quantity? The key problem is how to adapt the operational mechanism of the industry to a market economy, as sooner or later it will face competition from foreign invested cinemas, advanced foreign film technology and management, and a possible brain drain.

The Big Shot's Funeral poster.

A still from Big Shot's Funeral.

With a population of 1.3 billion, China is a huge potential market, and it is no wonder that Hollywood keeps close contact with Chinese governmental and non-governmental organizations. At the end of 2000, a Chinese film delegation, headed by Zhao Shi, deputy director of the State Administration of Radio, Film and Television, visited the USA, and was warmly received by 20th Century Fox. At the invitation of the American Film Association, another Chinese film delegation was welcomed and hosted by Warner Brothers Co., Ltd. Other famous film companies such as MGM, Universal Pictures, Disney, and Paramount Pictures are currently working out their most opportune time to march into China.

Taking into account the opportunities provided by China's entry into the WTO, as well as the commitment of the Chinese government, it is estimated that Hollywood will enter China in three steps. The first will be to invest in the building of cinemas. There is currently a cinema for every 9,000 Americans, whereas China has only one for every 122,000 people. The promulgation of the Movie Management Regulations on February 1st, 2001, made private cinemas legal, thus breaking the monopoly of state-owned cinemas. The second step relates to the current restrictions on foreign movies. From this year onwards, the import of foreign movies will increase from 10 to 20 per year, while in the coming three years it will increase to 50. The third and final step will be the full-scale entry of Hollywood movies into China.

Finding a Breakthrough

Liu Ye (left) and Chun Hoi Lu, winner of best actor and best actress awards at Taiwan's 38th Golden Horse Award.

With the coming of Hollywood movies, Chinese films will meet challenges and fierce competition, which will also act as a stimulus for its development.

The carryover of the planned economy has obstructed the development of Chinese film in such aspects as management, fund administration, production, and distribution, but China's entry into the WTO will provide it with numerous opportunities.

As regards management, the slogan "the customer is god" will be raised, as it is important for film directors and producers to define their audience, as only then can they create a free and competitive market environment.

A still from Spring in a small city

Funding has also been a big problem for the development of the Chinese film industry. In recent years, however, the state has adjusted its policies and sanctioned private investment. Meanwhile, relevant departments have worked out preferential policies aimed at developing the film industry. It is estimated that five years after China's entry into the WTO, annual potential box office sales will be in the region of US $1,000 million to 1,500 million, with an annual increase of over 15 percent.

On November 12, 2001, through the joint efforts of the China International Trust and Investment Corporation, the biggest investment company in China, and the Chinese Film Group Co., Ltd., the Century Hero Investment Co., Ltd., was established, marked by the launch of Chen Kaige's film Being Together With You. This indicates a good start for Chinese film in its search for a breakthrough.