Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 434, Section 432: Television Debate (Part 1)
Sunday, July 7, 2002.

The city of Changsha was already shrouded in summer heat in the early morning.

But an even more fervent social expectation is spreading through invisible radio waves in countless families.

At 9:50 a.m., the largest studio of Hunan TV was brightly lit and filled with cameras.

The venue was meticulously arranged, with a huge abstract art backdrop and four separate lecterns in the center, reminiscent of a US presidential election televised debate. It appeared particularly novel and formal on Chinese television screens at the time.

In the control room, Ouyang Changlin personally oversaw the operation, staring intently at the monitor screen with a serious expression.

The technicians conducted a final check of the audio and video signals, creating a tense atmosphere.

This live debate, initiated by Shengying Media and fully undertaken by Hunan TV, was undoubtedly a bold adventure, but also a tremendous opportunity.

Success or failure depends on this.

Tens of millions of viewers had been waiting in front of their television sets for a long time.

For the vast majority of Chinese people, it is almost unprecedented for such a heavyweight celebrity to engage in a public, televised debate on such a controversial topic.

Although there were major discussions in the 1980s such as "practice is the sole criterion for testing truth," these discussions were mostly carried out in newspapers and on the radio, and were presented in a more serious manner.

Since the 1990s, televised debates have been more common in specific formats such as university debate competitions.

Today's event, featuring a prominent business tycoon and cultural figure, and three established public intellectuals, engaging in a public debate on cutting-edge topics such as "the art and commerce of film" and "cultural security and market openness," and broadcast live throughout, is just as impactful as the content of the debate itself.

Many viewers, especially young viewers, are filled with great curiosity and eagerly anticipate seeing this exciting "battle of wits" between the two scholars.

……

The capital city, the Gao family.

Gao's father and Gao Yuanyuan's brother, Gao Yong, sat on the sofa in the living room, with the television set locked on Hunan Satellite TV.

Gao's mother is still in Qiongzhou accompanying Gao Yuanyuan, who is about to give birth. In order to avoid upsetting her daughter, she and Zhang Xiulan tacitly concealed today's incident.

Gao Yong stared at the screen with a complicated expression. He had mixed feelings about his "brother-in-law" Wang Sheng. He admired Wang Sheng's achievements but was also resentful that Wang Sheng couldn't give his sister a formal title.

"Dad, this is like a presidential election in a foreign country," Gao Yong muttered.

Mr. Gao adjusted his glasses, his gaze deep, and slowly said, "In terms of form, it is somewhat similar. It reminds me of the televised debate between Kennedy and Nixon in 1960 that I read about. Kennedy turned the tide with his youthful and confident on-screen image."

Today… Wang Sheng’s appearance and presence are no less impressive than Kennedy’s.”

His tone was neither joyful nor angry; he sounded more like a calm observer.

……

Han Sanping's home in the Beijing Film Studio residential area.

Han Jianu, now a high school sophomore, has grown into a graceful young woman. The childishness in her eyes has faded, replaced by the delicate beauty of a young woman and the spirit of independent thinking.

She sat close to her father on the sofa, her eyes glued to the television screen.

"Dad, why do these people have to pick on Uncle Wang Sheng? He brings Chinese films to foreign countries to make money, gives so many uncles and aunts jobs, and allows so many good movies to be released. What's wrong with that?"

Han Jianu spoke with dissatisfaction. She had experienced the Beijing Film Studio's rise from its low point to its recovery and had witnessed the changes brought about by Wang Sheng. Emotionally, she naturally leaned towards Wang Sheng.

Han Sanping patted his daughter's hand, his eyes filled with the understanding that comes with experience: "My dear daughter, it's always been like this. Whether it's reform or innovation, it will always affect the interests of some people and disrupt the existing balance."

Some saw an opportunity, while others only saw a threat. The path your Uncle Wang Sheng has taken is fast and aggressive, which will naturally attract criticism.

Over the years, I have experienced the embarrassment of film studios not being able to pay salaries, witnessed the fierce competition for a single filming quota, and seen the devastation of domestic films being overwhelmed by imported films in the early days of market opening...

Now that things have finally started to look up, it's not surprising that some people want to turn back, and others want to reap the benefits.

His words were calm, yet they revealed the hardships and struggles in the process of Chinese film reform.

……

at the same time.

In multiple apartments and villas in Beijing.

Li Xiaoran sat alone in front of the television, her palms slightly sweaty from nervousness.

In the hotel room where the "Brotherhood of Blades" crew was staying, Fan Xiaopang was getting his makeup touched up by the makeup artist in preparation for his afternoon scenes, while staring intently at the television on the wall, silently cheering for Wang Sheng in his heart.

During a break from a commercial performance, Cecilia Cheung hid in the backstage dressing room and watched the happenings in Changsha through a small television.

Even Gao Yuanyuan, who was far away in her villa in Qiongzhou, seemed to have a premonition, despite being deliberately kept in the dark. She touched her swollen belly and looked up at the northern sky.

……

Ten o'clock in the morning sharp.

The opening sequence of Hunan TV flashes by, then the camera cuts back to the studio.

Host He Jiong announced in a calm and clear voice: "Dear viewers, welcome to the special debate on 'The Future Path of Chinese Cinema,' broadcast live by Hunan TV. Now, please welcome our four guests to the stage!"

Amidst the limited applause from the audience and the gazes of countless television viewers, the four debaters walked out from both sides of the stage and stood behind their respective podiums.

On the left are three challengers who have joined forces: Hu Manli is dressed in a dark suit with a serious expression, exuding the awe-inspiring air of a cultural defender; Yan Xiaoqiang is wearing a Chinese-style top with frog buttons, his lips are downturned, and his eyes are critical; Zhang Yuan has the air of a scholar, with a scrutinizing gaze behind his gold-rimmed glasses.

On the right, Wang Sheng, alone, immediately drew gasps from viewers, especially young viewers, upon his appearance.

He wore a well-tailored dark gray casual suit, without a tie, his shirt collar slightly open, his posture upright, and his face handsome. Under the bright studio lights, the confidence and composure between his brows almost overflowed the screen; the charm of that intertwined youthful vigor and steady aura was precisely conveyed through the lens.

Many viewers were indeed seeing Wang Sheng "moving" on television for the first time; previously, he was mostly seen in still pictures in newspapers and magazines or as a character in movies.

Only then did they realize that this legendary business genius and famous director was actually so handsome and photogenic, in no way inferior to any of the stars under his wing.

Wow! Wang Sheng is so handsome?

"That demeanor, that appearance... what he said must be true, right?"

"How can someone who is good-looking be a 'cultural capitulationist'?"

A simple and intuitive belief that "good looks equal justice" has quietly taken root in the hearts of countless young viewers.

Although rationally we know we shouldn't judge a book by its cover, Wang Sheng's visual image undoubtedly earned him valuable points for a good first impression.

After the moderator briefly introduced the rules, the debate officially began.

The first to speak was Hu Manli, who got straight to the point and spoke with great enthusiasm: "Mr. Wang Sheng, you and your Shengying Media have undoubtedly achieved tremendous commercial success."

But we must soberly recognize that behind your so-called 'market success' lies the loss of the cultural identity of Chinese films!

Your works, from your earliest "30 Days" to "First Love," "My Sassy Girl," and "The Proposal," are full of imitations of Japanese, Korean, and Hollywood genre films, lacking an expression of China's profound cultural heritage and realistic concerns!
Is this a form of deliberate cultural self-castration for the sake of the market? Do you believe that commercial value should supersede artistic value and cultural responsibility?

The questions are sharp and get straight to the heart of the matter.

The camera zooms in on Wang Sheng.

He didn't immediately refute, and even a faint smile appeared at the corner of his mouth. His gaze calmly swept over the three people opposite him, finally settling on Hu Manli. His steady voice carried throughout the venue through the microphone:
"Ms. Hu's question is very good; it represents a common concern."

But I'd like to ask Ms. Hu and everyone here a question first: Before criticizing me for imitating foreign genre films, have you, or any of us here, successfully and on a large scale exported films with "profound Chinese cultural heritage" overseas, and made foreign audiences, especially young audiences, spontaneously and willingly pay to buy tickets to watch them?

One sentence, and the scene instantly quieted down.

Before the other party could answer, Wang Sheng continued, speaking slowly but clearly:
"Cultural export cannot rely on self-admiration, much less on forced indoctrination."

It needs a medium, it needs to make the target market audience willing to accept your product and sit down to listen to your story.

Genre films are one of the most effective narrative languages ​​proven by the market worldwide.

We learn it and master it in order to better package the core of our culture, so that what we want to express can be received by a wider audience.

"First Love tells the story of unrequited love and growth that is common to Asians, while Kung Fu Soccer uses kung fu elements to package the dream of grassroots success. These emotions are universal."

Within this universal narrative framework, we infuse it with Chinese emotional logic, Chinese life scenarios, and the Chinese spirit—optimism, resilience, and an indomitable will.

Isn't this a manifestation of cultural confidence? Does one have to make films obscure and difficult to understand, or showcase so-called 'backwardness' and 'curiosity', to be considered culturally sophisticated?

He paused slightly, his gaze sweeping across the audience and the camera, as if he were speaking to everyone watching on television:

"As for artistic value and commercial value... I believe that in the film industry, especially in the field of creating industrial influence, so-called 'pure artistic value' that is detached from the recognition of a large audience is often just a castle in the air."

From its inception, film has been a product of technology and commerce. At Shengying Media, we have never abandoned our pursuit of artistic quality; films like *Postmen in the Mountains* and other art-house films are among our investments.

However, we also firmly believe that a film that audiences enjoy watching and are willing to buy tickets to must possess its own artistic value—a value that resonates with the times and connects with people's hearts.

Finally, regarding cultural subjectivity...

Wang Sheng's voice rose slightly, carrying an undeniable firmness:

"I believe that true cultural subjectivity is not about shutting yourself in and talking to yourself, but about daring to open your doors to guests, proving your excellence in competition, and drawing nourishment and strengthening yourself through exchanges and collisions."

Shengying Media is doing just that. We've established a foothold in China with market-driven productions, proven the commercial potential of Chinese-language comedy in North America with "Shaolin Soccer," and we're about to showcase Eastern fantasy to the world with "Night at the Museum"!
This is the cultural identity our era should possess—confidence, openness, and a willingness to compete!

His words were logically clear and progressively elaborated, providing both a direct response to the questions raised and an elevation of his overall perspective.

In front of the television, Mr. Gao nodded slightly. Although he still had some reservations about Wang Sheng's personal life, he had to admit that the argument hit the nail on the head.

Han Jianu excitedly shook Han Sanping's arm: "Dad! Uncle Wang Sheng's words are so true! They make much more sense than those other people!"

Han Sanping nodded steadily.

Fan Xiaopang watched Wang Sheng's effortless movements on the screen, his eyes gleaming with admiration.

Cecilia Cheung breathed a sigh of relief, and the corners of her mouth unconsciously turned up.

Li Xiaoran loosened her grip slightly.

In the first round, Wang Sheng not only steadily withstood the opponent's sharp attacks, but also used the opponent's strength against them, successfully positioning himself as a practitioner of the marketization and internationalization of Chinese films, thus gaining the upper hand in terms of posture.

The atmosphere at the scene began to subtly shift in Wang Sheng's favor.

Hu Manli's face turned somewhat unpleasant, and she was preparing to organize her thoughts for a rebuttal.

The host intervened at the opportune moment, handing the speaking rights to the next challenger, scholar Zhang Yuan.

Zhang Yuan adjusted his glasses, his tone carrying an air of academic superiority: "Mr. Wang Sheng, you repeatedly emphasize the market and the audience. But we must be wary of a kind of 'market fundamentalism'!"
As the seventh art, film's evaluation system cannot be entirely dominated by box office and viewership ratings.

Will the commercialization path you advocate lead to the vulgarization and homogenization of film art?

Will this squeeze out the space for works that require serious artistic exploration and intellectual depth? What are your views on the social critique function of film as an art form?

Another classic academic question.

(End of this chapter)