The world begins with Hong Kong movies

Chapter 713 Asia's Top Film Star! (Seeking Monthly Tickets)

In his previous life, Wu Aiguo was a true film industry tycoon.

He's naturally very knowledgeable about the ins and outs of filmmaking.

At the same time, he is also well aware of the development of the domestic film industry.

Well, it's been infiltrated too much.

The so-called fifth generation was somewhat better, but starting from the sixth generation, almost all film directors with formal training in filmmaking failed.

We can't entirely blame them!
Firstly, the top art schools in China went astray, and the consequences of their complete shift towards art films were naturally quite serious.

Furthermore, film studios were struggling to survive, and the government didn't have the extra funds to invest in them. Directors who graduated in the 1980s and 1990s had no films to direct, so they were lured away by capital with ulterior motives.

Even Director Tian, ​​with his powerful connections, has to rely on Xiao Rizi's funds to make a film; the situation for other directors is only worse.

In the previous life, Fengrui Films and Qiankun Film Company rose to prominence, and together with Sil-Metropole Organisation, they barely managed to stabilize the Hong Kong film market.

The situation isn't so bad when it extends to the domestic film and television industry.

However, the struggle for narrative dominance in domestic films continued even as Chinese cinema entered a period of decline.

Some discourse power is firmly held by academics.

The academic faction, on the other hand, has unclear ties with certain forces.

Fortunately, in the previous life, with Sharp Media leading the way, the situation was much better than in the normal timeline. It even compressed and restricted Hollywood's influence and voice in the Asian film industry.

During this period, how many films did those academic directors make that made audiences feel awkward, and even drove them out of the theater?
In short, certain directors left a very deep impression on Wu Aiguo.

In the past, with Sharp Media leading the way, Qiankun Media and many other Hong Kong filmmakers were considered normal.

At the same time, it has also helped many directors without formal training, making the development of domestic commercial films even more prosperous.

But the problem still exists!
The situation would be even worse in normal spacetime!

Several of China's top directors are being manipulated by Hollywood forces.

They've all been led astray by the so-called "shining light of the Chinese people."

If it weren't for the booming domestic box office market and the rise of non-professional directors who offset the influence of Hollywood, the consequences would have been dire.

Even so, films like "Wolf Warrior 2," "The Wandering Earth" (parts 1 and 2), and "Ne Zha" (parts 1 and 2) all faced overwhelming attacks.

Even after the movie was taken off the screens, the intensity of the attack did not decrease much.

At first, I felt confused and even thought there was something wrong with the attacking voices, but later I found out what was going on.

When internal and external factors combine, that's how the situation came about.

Hollywood has fallen so low, and now the domestic film and television industry is following suit, it's simply inhuman.

The situation is different now!

The emergence of South China Film Group easily changed the landscape of the Asian film industry.

Although Nanhua prioritizes construction, its film and television industry is also developing rapidly.

Especially in the film industry, many genres have been developed, including youth campus films, martial arts films, urban action films, military spy films, and supernatural films.

Moreover, they all achieved quite good results.

Perhaps at this time, Hollywood's reach had not yet extended throughout Asia, giving the South China film and television industry enough room to develop.

In short, under Wu Aiguo's guidance, Nanhua's film industry has flourished and has now become the strongest in Asia.

Of course, he didn't forget Hong Kong Island either. After all, it was a hub for many talented people in the domestic film industry, accumulated since the Republic of China era!

Coupled with the complex international environment and the booming urban population of Hong Kong Island, the film and television industry has also developed rapidly.

Several major film studios in South China jointly established a branch studio on Hong Kong Island.

Some films that were difficult to shoot in South China were all filmed on Hong Kong Island.

In fact, Hong Kong Island is simply no match for South China Film Group in terms of the title of Asia's strongest film industry; they are not even in the same league in terms of market share.

The most important overseas market for Hong Kong films is Taiwan, followed by Southeast Asia.

In other words, Bruce Lee had enough international influence that his movies could be shown normally in Europe and America, since nobody would turn down money.

But the new generation of kung fu stars are not so lucky.

Both tangible and intangible limitations prevented even Bruce Lee from exerting his full strength.

At this point, it was, after all, a stage of two strong contenders vying for supremacy!
Many things must give way to the struggle for supremacy. Certain people and institutions in the United States simply will not allow any person of color other than Bruce Lee to rise to become a world kung fu superstar.

At least, that was the case in the 1980s!

Even Bruce Lee, if he hadn't focused on promoting Jeet Kune Do and no-holds-barred fighting, probably wouldn't have fared so well.

But the films produced by Nanhua entered the domestic market much earlier.

Of course, one cannot expect to make money in the domestic market in the 1970s and 80s; they basically built their reputation by buying out contracts.

But South China Films can also be sold throughout Southeast Asia.

Not only that, it can also be sold to Russia and Eastern Europe.

This market is much larger than the Hong Kong film industry.

No matter how well Taiwan develops, can it compare to East Hans?

Not to mention, the entire Eastern European film market is not small in scale.

With the addition of the film market in Russia, South China Film Group can easily become the strongest film company in Asia.

Nanhua's urban action, military espionage, and fantasy/supernatural films are very popular in the Da Mao and Dong Hou regions.

Recently, martial arts films with real combat elements have also been added!

Whether this autobiographical work, "My Struggle in Beijing," will be well-received in Russia and Eastern Europe depends on its screening performance.

It can be said that the South China film industry was on the right track at this time, and its voice and influence were quite strong.

Under such circumstances, it's natural to find some comments from within China quite harsh and unpleasant to hear.

The main reason Wu Aiguo mentioned it again at the meeting of literary and art workers was to remind everyone present from time to time not to follow the domestic model of completely tilting towards art.

It's not that making art films is bad, but that they shouldn't become mainstream!

Eastern European art films are quite remarkable, but what is their reputation in the world film industry?

On the other hand, Russia's heavy industry films are quite famous worldwide, which is the best example.

At the same time, Wu Aiguo also has ambitions and ideas, wanting to further expand the influence and voice of Nanhua Films. It is time to hold one or two international film festivals and see if he can compete for the right to speak in certain genres.

It would be ideal if we could seize the power to set standards, although the chances are slim.

Soon after, filmmakers in mainland China, Hong Kong, Southeast Asia, and even South America suddenly received invitations to a film festival hosted by South China Film Festival.

(End of this chapter)