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La Chine exporte ses séries télévisées
Depuis déjà quelques années, les films chinois connaissent un succès à l'étranger. Aujourd'hui, nous allons nous intéresser aux efforts grandissants de l'industrie télévisuelle chinoise pour réaliser des séries destinées au marché étranger.
Des réalisateurs chinois et américains redonnent vie aux histoires populaires de tigres volants, le Groupe de volontaires américains très populaire qui a aidé la Chine contre les envahisseurs japonais pendant la Seconde Guerre mondiale. La série est financée par des investisseurs américains. Une équipe dynamique sino-américaine est aux commandes pour la production. Le programme sera diffusé dans les deux pays.
Une autre série permet cette fois à la Russie et à la Chine de collaborer. Ce programme de suspense et action sera intitulé "Le mystère de la note d'un chasseur". Réalisée entre la Russie et la Chine, la série permettra de comprendre l'histoire et la culture de ces deux grandes nations d'une façon intelligente et passionnante. Et comme d'habitude, le kungfu est ce qui attirera le plus les téléspectateurs russes.
Le Japon, lui, est plus intéressé par le mystère des anciennes familles impériales de Chine. Ainsi, les histoires et légendes de la douairière Cixi qui a régné à la fin de l'ère des Qing, la dernière dynastie de Chine, est le sujet de "Les pléiades". Diffusée sur la chaîne de haute définition de NHK, la série a connu des pics d'audience au Japon.
En 2009, l'exportation de produits audiovisuels chinois a connu un bond d'environ 45% par rapport à l'année précédente. La moitié de ces produits sont des séries ainsi que des téléfilms, représentant un total de plus de 5 mille heures d'image.
Source: CCTV
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其实人在小时候就已经养成看待世俗的眼光，只是你并不自知。(侯孝贤)
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Edmond Pang Ho-cheung 彭浩翔 part à la conquête du marché chinois. Son projet a pour nom de code "4 + 1". Il s'agit d'une série de 4 courts-métrages et d'un long métrage. Pang s'occupera de tout (écriture, choix des comédiens, production), mais laissera la chance à de jeunes réalisateurs chinois pour les segments de CM. Les CM seront sans doute diffusés sur le Net, via les portails de grands sites, en VOD, etc. Les récits pourraient être des développements d'histoires racontées dans Trivial Matters 破事儿. s : Sina Ed. Pang 
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其实人在小时候就已经养成看待世俗的眼光，只是你并不自知。(侯孝贤)
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Le studio Fox à l'assaut du marché chinois avec son premier film en mandarin
De Romain RAYNALDY (AFP) –
LOS ANGELES — Après les studios Warner, Disney et Sony, la Fox se lance à son tour dans la production de films en mandarin pour le public chinois, espérant se faire une place dans un marché à la croissance fulgurante.
Fox International, une division de la major hollywoodienne, a été créée en 2008 pour "produire des films localement, notamment sur les marchés en forte croissance ou ayant déjà une production nationale abondante et solidement installée", explique à l'AFP son président, Sanford Panitch.
Active dans dix pays --Inde, Japon, Corée du Sud, Chine, Italie, Allemagne, France, Espagne, Brésil et Mexique-- Fox International a signé cette année son tout premier film en mandarin, "Hot Summer days" (Chaudes journées d'été), qui sort cette semaine aux Etats-Unis après sa sortie chinoise en février.
Le film, qui raconte les aventures croisées de plusieurs couples de jeunes chinois dans trois villes du pays pendant un été caniculaire, a récolté 20 millions de dollars au box-office chinois, "un beau succès", selon M. Panitch.
"La Chine est le marché qui croît le plus vite dans le monde et 50% des recettes étant réalisées avec des films chinois, il nous semblait opportun de participer à la production locale", explique-t-il.
"Les films les plus rentables dans l'histoire du pays sont tous sortis en 2009 ou en 2010", ajoute Stanley Rosen, professeur et spécialiste du cinéma chinois à l'Université de Californie du Sud (USC), soulignant le goût de la classe moyenne émergente pour le cinéma.
"Avatar" de James Cameron occupe la première place au tableau général, avec près de 200 millions de dollars de recettes, suivi par le film chinois "Aftershock" et les films américains "2012" et "Transformers 2".
Pour M. Rosen, le rêve des studios américains serait de garantir "l'accès au marché chinois pour les films américains", alors que les salles poussent comme des champignons dans le pays --un millier depuis début 2010. Mais les quotas sont stricts : seuls 20 films étrangers par an peuvent être distribués en Chine.
D'où l'idée de produire directement en chinois pour la Chine, ou de lancer des co-productions bilingues anglais-chinois "orientées vers le public occidental", dit-il, et exportables en Asie, aux Etats-Unis et en Europe.
La Fox n'est pas la première "major" à tenter l'aventure chinoise. La Warner avait ouvert la voix en 2004, suivie depuis par Sony ou Disney, qui développe une version chinoise de son film musical pour adolescents "High School Musical" --un sujet qui ne devrait pas trop effrayer la sourcilleuse censure chinoise.
Car si "Hot Summer days" ne semble pas avoir posé de problème, The Weinstein Company aurait eu quelques soucis avec "Shanghaï", un film sur la seconde guerre mondiale, sorti cet été en Asie, avec des personnages japonais. "Ces derniers étaient trop sympathiques et ça n'a pas plu au gouvernement. Ils ont dû faire des changements", affirme M. Rosen.
Fox International a déjà fini son deuxième film en chinois --"The butcher, the chef and the swordsman", présenté au dernier festival de Toronto-- et prépare le tournage du troisième, début 2011.
"La Chine est un marché très compétitif, car il y a beaucoup de producteurs et de studios locaux", observe-t-il. "Mais la bonne nouvelle, c'est que le marché est tellement vaste qu'il y a de la place pour tout le monde".
Enfin, travailler en Chine offre aussi la possibilité de "travailler avec de nouveaux talents", remarque M. Panitch, qui compte bien trouver "le prochain Ang Lee (le réalisateur taiwanais oscarisé pour +Brokeback Mountain+), le prochain grand cinéaste à qui l'on pourra confier un film hollywoodien". |
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其实人在小时候就已经养成看待世俗的眼光，只是你并不自知。(侯孝贤)
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| ah_thomas |
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Le cinéma en Chine explose et devient très tendance... On verra surement de plus en plus de gros films commerciaux.
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Report: China b.o. to overtake Japan in 2015
China to become second-largest film market in five years
BEIJING -- China will overtake Japan as the world's second-largest movie market after the U.S. in the next five years, an industry association forecast this week, saying Chinese would buy up to 40 billion yuan ($6 billion) in movie tickets by 2015.
Already the world's second-largest economy, having overtaken Japan earlier this year, China and its swelling middle class are in the throes of a cinema revival not seen here since the 1930s, a boom that is causing a rush to build more multiplexes and attracting Hollywood’s attention.
China will add another 1,500 cinema screens this year, raising the total to 6,000, the China Film Producers Association said in a statement, at a forum held in east China's Jiangsu Province on Wednesday. The number of screens in the nation is expected to double to 12,000 by the end of 2015, the assn. said.
The Chinese box office hit 4.84 billion yuan ($726 million) in the first half of the year, up 86% percent from a year earlier, Tong Gang, director of the film bureau at the State Administration of Radio, Film and Television, said in July.
Tong said the 2010 box office would reach 10 billion yuan ($1.5 billion), continuing its upward drive from 6.2 billion yuan ($933 million) in 2009 and less than 1 billion yuan ($150 million) in 2003.
Japan’s total box office gross in 2009 was 206 billion yen ($2.54 billion), according to the Motion Picture Producers' Assn. of Japan.
-- Gavin J. Blair in Tokyo contributed to this report.
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Film malaise: problems behind China’s rising film industry
DOMESTIC films seem to be entering their best times, with blockbusters such as “Aftershock” and “Under the Hawthorn Tree” acquiring much influence as well as box-office success.
But amid the unprecedented prosperity, problems are simmering, industry insiders said during the 19th Golden Rooster and Hundred Flowers Film Festival in Jiangyin, Jiangsu Province last week.
The monopoly of blockbusters, heavy use of product placement and lengthy pre-movie advertising, exaggerated box-office figures and a lack of production technicians were the major problems hindering the growth of China’s film industry, industry insiders attending the festival said.
While some blockbusters made huge profits, most films failed in the fierce competition and lost money. In July, 14 films were screened, but only one — “Aftershock” — was profitable.
Some filmmakers, publishers and theaters had formed a monopoly to control prices, film promotions and screening frequency. Therefore, audiences had little choice but to watch a few blockbusters during a specific period of time, said Professor Dai Jinhua, director of the Center for Cinema Studies and Cultural Studies at Beijing University.
“It’s hard for low-cost and artistic films to survive on the domestic market,” said Zhang Huijun, vice chairman of the China Film Association.
“The result is that the box office is dominated by a few blockbusters and this trend is particularly obvious this year,” said Yin Hong, director of the Center for Film and Television Studies at Qinghua University.
The lengthy commercials and awkward product placements were driving audiences away from domestic films. In September, a Xi’an man sued the filmmaker and publisher of “Aftershock” for the long pre-film advertising he was forced to watch. The 140-minute film followed 15 minutes of commercials in most theaters and, in some, the commercials lasted 24 minutes. The blockbuster earned more than 100 million yuan (US$15m) from product placement.
“There should be a bottom line for advertising in any form. The audiences might tolerate advertisements — but not if the they are poorly placed,” said Cao Leilei, assistant president of the Chinese National Academy of Arts.
Fake box-office figures were another thing widely criticized. Earlier this year, the producer of the film “Robot Kids” (“Shen Bing Xiao Jiang”) said takings for the film’s first week reached 40 million yuan, more than twice the actual figure of 17 million yuan. Box-office takings for “Aftershock” remain a mystery after theaters, the producer and the director each announced different figures.
Meanwhile, a lack of technicians had become a bottleneck for the Chinese film industry, with many trainee film technicians becoming actors and schools were severely short of technical teachers, according to industry insiders.
“Aftershock,” for example, hired more than 70 foreign technicians for five minutes of special effects for the earthquake. Director Feng Xiaogang said he did not dare entrust the job to Chinese technicians, who, he claimed, could not use the imported equipment properly. (Helen Deng)
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source http://szdaily.sznews.com/html/2010-10/21/...ent_1274927.htm Ce message a été modifié par ah_thomas le Mercredi 23 Mars 2011 16h40
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Film malaise: problems behind China’s rising film industry
DOMESTIC films seem to be entering their best times, with blockbusters such as “Aftershock” and “Under the Hawthorn Tree” acquiring much influence as well as box-office success.
But amid the unprecedented prosperity, problems are simmering, industry insiders said during the 19th Golden Rooster and Hundred Flowers Film Festival in Jiangyin, Jiangsu Province last week.
The monopoly of blockbusters, heavy use of product placement and lengthy pre-movie advertising, exaggerated box-office figures and a lack of production technicians were the major problems hindering the growth of China’s film industry, industry insiders attending the festival said.
While some blockbusters made huge profits, most films failed in the fierce competition and lost money. In July, 14 films were screened, but only one — “Aftershock” — was profitable.
Some filmmakers, publishers and theaters had formed a monopoly to control prices, film promotions and screening frequency. Therefore, audiences had little choice but to watch a few blockbusters during a specific period of time, said Professor Dai Jinhua, director of the Center for Cinema Studies and Cultural Studies at Beijing University.
“It’s hard for low-cost and artistic films to survive on the domestic market,” said Zhang Huijun, vice chairman of the China Film Association.
“The result is that the box office is dominated by a few blockbusters and this trend is particularly obvious this year,” said Yin Hong, director of the Center for Film and Television Studies at Qinghua University.
The lengthy commercials and awkward product placements were driving audiences away from domestic films. In September, a Xi’an man sued the filmmaker and publisher of “Aftershock” for the long pre-film advertising he was forced to watch. The 140-minute film followed 15 minutes of commercials in most theaters and, in some, the commercials lasted 24 minutes. The blockbuster earned more than 100 million yuan (US$15m) from product placement.
“There should be a bottom line for advertising in any form. The audiences might tolerate advertisements — but not if the they are poorly placed,” said Cao Leilei, assistant president of the Chinese National Academy of Arts.
Fake box-office figures were another thing widely criticized. Earlier this year, the producer of the film “Robot Kids” (“Shen Bing Xiao Jiang”) said takings for the film’s first week reached 40 million yuan, more than twice the actual figure of 17 million yuan. Box-office takings for “Aftershock” remain a mystery after theaters, the producer and the director each announced different figures.
Meanwhile, a lack of technicians had become a bottleneck for the Chinese film industry, with many trainee film technicians becoming actors and schools were severely short of technical teachers, according to industry insiders.
“Aftershock,” for example, hired more than 70 foreign technicians for five minutes of special effects for the earthquake. Director Feng Xiaogang said he did not dare entrust the job to Chinese technicians, who, he claimed, could not use the imported equipment properly. (Helen Deng)
source
http://szdaily.sznews.com/html/2010-10/21/...ent_1274927.htm |
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Celestial workshop more than academic
By Patrick Frater
Tue, 18 January 2011, 15:13 PM (HKT)
Production News
Aspiring Chinese film-makers will get a chance to rewrite — and perhaps remake — a selection of classic Shaw Brothers (邵氏) movies.
Hong Kong's Celestial Pictures (天映娛樂有限公司), which these days owns and operates the Shaw library, has teamed up with the Beijing Film Academy (北京電影學院) and China's Youth Film Studio (青年電影製片廠) to launch a programme called New Directors Workshop. The first element of the programme is a screenplay competition open to the 2011 graduating class and past graduates of BFA's directors course.
Competition entrants need to submit a 6-to-8 page story treatment based on any one of ten selected Shaw films. These include Cheng Pei-pei (鄭佩佩) starring martial arts film Brothers Five (五虎屠龍); the 1984 romantic drama Behind the Yellow Line (緣份); gangland action drama The Bloody Escape (逃亡); and Wong Jing-directed (王晶) comedy Girl with the Diamond Slipper (摩登仙履奇緣).
Cheng attended a launch ceremony today in Beijing.
The best five treatments will be rewarded with a cash prize of RMB20,000 ($3,030) for development into a full-length screenplay. The five completed scripts will be narrowed down to three by a jury that includes actress and filmmaker Sylvia Chang (張艾嘉), two executives from Celestial Pictures and one executives from each of the BFA and YFS.
Chang will also mentor one of the winners and in cooperation with Celestial Pictures, help produce his or her script. Concurrently, Celestial Pictures, BFA and YFS plan to select two additional winners and jointly produce their screenplays.
"China's box office revenue reached RMB10 billion ($1.52 billion) last year, yet there is still a lack of filmmaking talent in China. Our students need more opportunities to practice and sharpen their filmmaking skills," said Xie Xiaojing (謝曉晶), vice president, PhD supervisor and Professor of the BFA and manager of the Youth Film Studio.
Titles open to remake treatment:
Ambush (埋伏, 1972)
Brothers Five (五虎屠龍, 1970)
Behind the Yellow Line (緣份, 1984)
The Bloody Escape (逃亡, 1974)
The Fugitive (亡命徒, 1972)
Girl with the Diamond Slipper (摩登仙履奇緣, 1985)
The Happy Trio (雙星伴月, 1975)
The Lady is the Boss (掌門人, 1983)
Love with the Perfect Stranger (錯點鴛鴦, 1985)
Loving You (無味神探, 1995)
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其实人在小时候就已经养成看待世俗的眼光，只是你并不自知。(侯孝贤)
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File-sharing sites face crackdown
Source: Global Times [08:14 January 24 2011]
By Song Shengxia
The fate of the country's multimedia file-sharing portals are in serious doubt following the suspension of music and video downloading services at a popular website over the weekend.
Access to music channels and movie clips at verycd.com have either been blocked or automatically diverted to other Web pages since Saturday.
Refuting earlier reports that the website would be shut down or turned into a social networking service, Huang Yimeng, CEO of VeryCD, told the Global Times Sunday that the suspension was aimed at avoiding copyright disputes.
"The regulations are getting stricter and we're not able to legally provide a similar amount of content as before. That's why we have to change our content offering," Huang said, admitting that the website was not totally prepared for such a change.
Huang said the website's user experience has now been compromised, and some are demanding the return of downloading services.
"We hope that there is a transition for such a change so as to minimize the impact on our users," he said, refusing to comment on where the pressure came from to bring about such an abrupt change.
VeryCD is not the only site facing an uncertain future.
Downloading functions on subpig.com and uubird.com, two other similar peer-to-peer file-sharing websites, appeared to be disabled last night.
According to incomplete statistics, more than 400 peer-to-peer file-sharing websites including btchina.net, China's top media file-sharing website, have been shut down during the last two years.
The peer-to-peer downloads themselves are called bit torrents, which allow users to download files of all sizes from other users, and to upload content to other users' computers.
Such websites are generally funded by selling placed advertisements and are popular among young Web users.
Zhou Yang, 24, a college student in Beijing, told the Global Times that her hobby of watching TV dramas during the winter holiday had been ruined by the shutting down of downloading services.
"I can't accept that the service is off all of a sudden. Some of the Japanese TV dramas I'm downloading have just stopped. Although I can still watch some of them online, it's not that convenient."
Zhou said she knew it was wrong to violate copyrights, but it was too expensive for her to pay for authorized copies, adding that even if she was willing to pay, some dramas are unobtainable on the market.
The latest move came after VeryCD, which has been beset by copyright disputes, was sued in May for the unlicensed broadcast of last year's martial arts box office hit Ip Man 2.
It also came on the heels of a recent campaign targeting the spread of unlicensed online content.
Early this month, the country's Supreme People's Court, the Supreme People's Procuratorate and Ministry of Public Security jointly issued regulations specifying that those spreading other artists' works without authorization will be subject to a criminal penalty of between three and seven years in prison if the actual click rate on the work reaches 50,000 hits.
In December, the Ministry of Culture also issued a notice announcing the start of a crackdown on unlicensed online music websites.
The move prompted speculation over whether the campaign would be expanded to other larger online video-download and music-download websites such as baidu.com, a leading music search and sharing website in China, which has recently been riddled with copyright issues.
On Thursday, 27 singers sent a lawyer's letter to Baidu, claiming 6.85 million yuan ($1.04 million) from the search engine for music copyright infringement.
Ren Hucheng, a Beijing-based lawyer specializing in intellectual property rights, told the Global Times that the move to shut down the service could be seen as a sign of progress in the fight against piracy.
"The website is reacting to pressure from the law and governments because engaging in copyright disputes is risky and costly, and it also reflects the conflict between public convenience and copyright protection," he said.
However, Ren noted that shutting down the service is not a solution in the long term. "Online copyright violations stem from the invention of computer technology, which, on the positive side, brings convenience to the public.
"People are used to enjoying free services, and supervising this mass of information online is too hard, both economically and technically, for the service provider.
"So we can only solve the problem by improving technology that makes copyright information more detailed and protects rights at a low cost," he said.
Liu Linlin contributed to this story
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其实人在小时候就已经养成看待世俗的眼光，只是你并不自知。(侯孝贤)
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TVB sold
Tony Liaw, Karen Ha and NatalieWong
Thursday, January 27, 2011
Television Broadcasts (0511) will have a new owner after a consortium led by local venture capitalist Charles Chan Kwok-keung and a Taiwanese entrepreneur acquired Shaw Brothers' entire 26 percent stake in the terrestial broadcaster.
The Shaw Foundation Hong Kong will also sell its entire 6.23 percent stake in TVB to an unnamed third party.
The deal cuts the ties Run Run Shaw has had with the company. The 103-year-old tycoon has been chairman since back in the early 1980s.
Chan has built a solid reputation for buying local nonperforming listed companies, and reselling them for a higher price after restructuring them.
He is reported to have strong ties with tycoon Li Ka-shing, but a spokesperson for Cheung Kong (Holdings) (0001) denied a rumor that Li is involved in the deal.
The consortium buying TVB also includes Cher Wang, the Taiwan-based founder and chairperson of smartphone giant HTC Corporation and integrated chip maker VIA Technologies.
Cher, one of the richest people on the island, is the daughter of the late "King of Plastics" Wang Yung-ching.
Wang, who died in 2008, was legendary chairman of Formosa Plastics Corp.
Another consortium member is Providence Equity Partners, a US-based private investment firm with more than US$22 billion (HK$171.3 billion) under management.
Sources say Chan, Wang and Providence chief executive Jonathan Nelson will be appointed to the board of TVB, while senior management will remain unchanged.
Meanwhile, deputy c
hairperson and managing director Mona Fong Yat-wa will continue to be a shareholder.
Entertainers involved with TVB said they hope the new owners will pursues a fresh direction for the station. Others hope their fortunes will improve. "The best thing the new boss can do is to increase our salaries along with a big red packet," said Wayne Lai Yiu- cheung, an award-winning actor. "Anyway, Sir Run Run Shaw has been a great boss."
The deal price was not disclosed, but sources said it was about HK$8 billion - less than the HK$9.2 billion Peter Lee Ka-kit, Henderson Land Development (0012) chairman Lee Shau-kee's son, was reportedly willing to pay for the 26 percent stake. With the current capitalization of HK$20.1 billion of TVB, a 26 percent stake is equivalent to HK$5.22 billion.
Beside TVB, the assets of Shaw Brothers (Hong Kong) Ltd include the old site of TVB offices in Clearwater Bay that is co-owned with the SCMP Group (0583).
The deal took three months to be ironed out, with negotiations starting with Chan after Peter Lee pulled his offer.
In 2008, Yang Guoqiang, boss of Bi Gui Yuan Property Group in China, was willing to pay HK$10 billion to buy a majority stake in the station.
Earlier this year, PCCW (0008) chairman Richard Li Tzar-kai was also said to have made a bid with a mainland media group for the free-to-air broadcaster.
The Broadcasting Authority said last night it had not received any application from TVB regarding the reported change in share holders.
TVB has been a leading local television station for more than 40 years.
s : http://www.thestandard.com.hk |
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其实人在小时候就已经养成看待世俗的眼光，只是你并不自知。(侯孝贤)
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Mise à jour 27.01.2011 13h29
La Chine et la France signent un accord de coopération entre les deux cinémathèques
La Chine et la France ont signé mardi à Paris un accord de coopération entre les cinémathèques des deux pays.
Cet accord envisage beaucoup de projets concernant la collection des documentations cinématographiques, les échanges du personnel, l'organisation des expositions dans les deux pays afin de réaliser une coopération fructueuse, a déclaré Rao Shuguang, directeur adjoint de la Cinémathèque de Chine.
La Cinémathèque de Chine a organisé dans le passé 7 rétrospectifs du cinéma français en Chine et a attiré pas mal des spectateurs chinois, a-t-il présenté.
C'est un accord qui envisage de multiplier des échanges de programmation des films chinois en France et des films français en Chine, a indiqué Serge Toubiani, directeur général de la Cinémathèque française, "c'est aussi pour la formation des équipes cinématographiques chinoises au métier de la restauration," a-t-il ajouté.
Se déclarant optimiste quant à cette coopération, M. Toubiani a indiqué que les deux cinémathèques détenaient de très belles collections. "Nous devons développer des projets dans les années qui viennent pour faire connaître au public chinois et français nos deux histoires du cinéma" a-t-il conclu.
Source: xinhua |
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其实人在小时候就已经养成看待世俗的眼光，只是你并不自知。(侯孝贤)
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HongKong Cinemagic Forum -> HK Culture -> Séries TV et Téléfilms
Cinéma Et Télévision : À Hong Kong Et En Chine, Les faits et les chiffres
