What is the profound significance of 100 thousand movies with cold jokes?

Like many senior animation film practitioners, the problem of film censorship has not happened here in the World Federation. It seems that the "old guys" who make us audiences nervous have not embarrassed this novel this time. Since Shi Leng decided to make a movie, I have heard countless film practitioners say that they don't like Shi Leng's movies. Because its content involves too many adaptations, there are too many problems of unclear copyright without authorization. It is also a subversion of the traditional domestic animation image. In the past, it was basically a mortal ending. But the ten-cold test looks extremely smooth, and there is basically no jam.

I boldly speculate that this is the master's confusion and tolerance to the emerging secondary theme to a certain extent. In addition, there must be a witty response from the producers, because film criticism itself is a process of persuasion and communication. In the past, under the strict censorship system, what kind of animated films could we make? Do the content that has been reviewed before, whether it is the movie name or the content story. If a film has done this before, it will be more convincing in the face of doubt. Innovation is extremely difficult, and it can be said that the film has made a good start in front of censorship. Not only for myself, but also for countless animated films in the future.

Second, the domestic youth animation market

The problem in the animation market in China has always been that teenagers' themes are not selling well.

This is mainly caused by three problems.

1, insufficient accumulation of content brands

2. There are too many restrictions on platform channels.

3, unable to create content that young audiences like.

Since 20 14, countless animated films have been clamoring to break down the barriers of the youth animated film market, whether it is Quebap, Qin Shimingyue or next year's literary blockbuster "Big Fish Begonia". These well-made big productions, which can gain a lot of word of mouth, have not achieved the ideal box office.

They are all doing things in the right direction. As long as they don't get through the youth animation market, the animation industry in China will be under a spell. It's just that the methods and purposes are not so "aboveboard". Some things are well-intentioned, but it is inevitable that they will become more and more stale.

The life cycle of animation IP in China is very different from that in the United States and Japan. The animation IP in China is getting worse and worse, and the animation IP in the United States and Japan is getting more and more valuable. Most of the cartoons that Chinese teenagers watch are Japanese cartoons, while the movies that go to the cinema are adapted from American cartoons. Domestic animation content export channels are strictly controlled, but foreign animation content can be "unscrupulous" in the network, which is unfair. Of course, this society itself is not absolutely fair.

In the past, we wondered with trepidation whether we could change something through new media channels. Countless people have high hopes for the film "Ten Lengths". If ten challenges fail, it will hurt not only the movie, but the morale of a field. I am particularly afraid of destroying the public's confidence in domestic animation countless times, like those "artists" who call themselves "domestic hope"

You can't say how old the audience is, but the positioning of teenagers should be accurate. More importantly, compared with the previous domestic animated films, the number of adult audiences who actively watch movies by themselves has increased. Just being a children's animation market, Orpheus has reached its peak. Only by opening the youth market can China animation get a good start.

It is a very helpless fact that domestic animated films have a low attendance rate and do not arrange films at night. No wonder the cinema managers just adjust the film arrangement according to the market demand. Last year's "Qin Yue" struggled, which proved that the audience's age was not as high as they thought. Judging from the growth of the ten cold box office, Wanda won the screening that night, and the attendance rate was extremely optimistic.

This proves something after all.

Third, what do we see?

After all, we see that compared with traditional media, new media, a content media, has got rid of some shackles and shackles and is making great strides forward. Opening up the youth animation market through new media content has achieved something that could not be done before and that could not be done by traditional media. Failure is not terrible, what is terrible is that there is no hope of success.

As an animation IP whose life cycle is in a serious decline period, Ten Lengs shows a gesture that many people could not have imagined before, impacting the box office of 100 million yuan. This is an attempt in the field of new content, which has extremely important reference significance and also gives us a deeper understanding of Internet data.

Before the film was released, both the demon itself and the outsourcing publicity company did a lot of publicity operations. In particular, the outsourcing publicity company has done a very beautiful job and has come up with many ways to improve the attention of Shilian. However, the feature of new media animation is still that content is king, and it is impossible to raise attention through operational means, so it did not raise too high attention before the release of Ten Lengs.

Although they have done well enough, it is still the time to spell content.