Whether intentionally or unintentionally, the TV station responsible for producing the Golden Horse Awards ceremony used a lot of "Cape No. 7 elements" in the program design. It not only arranged for Mao Bo to come on stage to award the award and perform an erhu solo, but also performed it with great fanfare.
The "Cape Band", which reunited the original band from "Cape No. 7", performed live for the first time the interludes in the film. Light sticks were also distributed at the scene for everyone to wave to the rhythm of "No music, no music" to cheer up the atmosphere.
Make it so high
In addition, the host of the ceremony, Chen Jianzhou (black), was asked to film a 12-minute funny short film "Taiwanese Movie Dream", based on a movie "Seahorse No. 45" that young people are following the trend.
At the center of the plot, it satirizes the various awkward filming ecology of the Taiwanese film industry, and pokes fun at what every Taiwanese filmmaker is thinking: "Why is "Cape No. 7" OK?" "Why not me?" The short film was divided into three complete sections at the awards show.
The broadcast also specially produced a short film "A Brief History of Taiwanese Films" to let audiences at home and abroad re-understand Taiwanese films. This intention of "using the Golden Horse Awards to market the recovering Taiwanese films" is well-intentioned.
In order to encourage Wei Desheng and other underachievers, the Golden Horse Awards invited Ang Lee and Brigitte Lin, the king-level award-winning partners, to present two purely local awards: "Taiwan Outstanding Filmmaker of the Year" and "Taiwan Outstanding Film of the Year" for the first time.
The design is not to let them present the finale's Best Feature Film Award, but also to make media reporters and TV viewers pay more attention to Taiwan's outstanding films and film workers, namely "Cape No. 7" and Wei Desheng, just in case.
They didn't win the final grand prize, but they had already gained a head start.
Sure enough, this preventive action of "buying insurance" is effective. This local film insurance award, which was ridiculed as a "consolation prize" a few years ago, has greatly increased its importance and sense of honor, making the Golden Horse Awards run at full speed.
When moving towards the big goal of the "Global Chinese Film Awards", it also takes into account the "popular morale" of the Taiwanese film industry, and also resolves the prejudice of some people that "the Golden Horse Awards do not pay attention to local films"
In Zhang Yicheng's view, although the Golden Horse Awards favors local films, it is basically understandable. After all, they are Taiwanese films. However, as a fierce competitor, the Golden Horse Awards' move, for them,
It is undoubtedly too unfair. The box office of "Cape No. 7" is indeed good, but if you look at the box office alone, "Thirty-three Days of Love" is enough to surpass "Cape No. 7". If we talk about literature and art,
In other words, from the perspective of portraying human nature, neither "The Order" nor "Assembly" are worse than "Cape No. 7"
This is just like the magical appearance of the National Football World Cup group stage back then. It was a miracle. However, the Taiwanese, who suffered from the lack of strong local films in Taiwan, seemed to have grasped a life-saving straw and desperately praised "Cape No. 7"
In recent years, due to the decline of Taiwan's film industry, the Golden Horse Awards' best feature film and major awards have almost overwhelmingly belonged to Hong Kong films and mainland films. As a result, there has been an increasingly strong opposition voice on the island, arguing that "
The Golden Horse Awards are all for others." Some people even advocated that the Golden Horse Awards be stopped altogether!
It is rare to see such works in recent years, and some people even promote them. This also declares that the Golden Horse Awards will face a new situation in which Chinese films will be divided into three parts in the future.
But in the eyes of Zhang Yicheng, who came later, this is nonsense. The miracle of "Cape No. 7" selling well in Taiwan has indeed led to a boom in Taiwanese movies in the second half of this year, allowing the local film industry to recover after a long period of sluggishness.
On the right track, distributors and theaters are willing to give Taiwanese films a fair chance to compete in the market again, instead of shaking their hands and shaking their heads as soon as they heard the word "Taiwanese films" in the past. The overseas market has been lost for a long time.
There was a turning point due to the success of "No. 7"
Audiences at home and abroad have begun to look at Taiwanese movies in a new light, knowing that Taiwanese movies are no longer synonymous with "boring". They also have diverse themes and rich entertainment, giving everyone something to look forward to.
But to say that the three heroes stand together is nonsense!
The decline of Hong Kong movies is irreversible and is accelerating. Traditional markets such as Southeast Asia, Japan, Korea, and Taiwan have been taken over by Hollywood blockbusters. They have lost their former glory. As an emerging market, the mainland market may revive Hong Kong movies.
The strong rise of mainland films has completely ruined the hope of the rise of Hong Kong films.
In the past 5 or 6 years, there has been a cepa-like result in the film industry: mainland movies are Hong Kong-based, and Hong Kong movies are mainland-based. Movies must have martial arts directors, big stars, and beautiful locations. This has created
A kind of weird movie: it is not completely unrealistic like Hong Kong movies, because the mainland requires that the subject matter must be based on historical traditions, which makes both audiences uncomfortable. Hong Kong audiences still want to watch pure Hong Kong movies, but that era has returned.
No more, mainland audiences say they don’t want these fake things with no cultural value. This is a pain of integration. Relying on the huge market of the mainland, the era of mainland films dominating the Chinese film industry has irreversibly arrived, and not only
Not only Hong Kong, but also Taiwan will become one of the dumping grounds for mainland movies. From the early Hong Kong movies, to the later Hollywood movies, and now to the mainland movies that are now coming in force, Taiwan does not have the discernment of the early Hong Kong movies. In Hong Kong movies,
At the time of its rise, Taiwan had just begun to strive for a well-off society and was still at the end of the Chiang Kai-shek dynasty. Just like the mainland before reform and opening up, it was lifeless and everything was based on political themes. Naturally, no one would watch the movies produced in this way.
, this caused Taiwanese films to lose their head start, and after finally experiencing the rise of Taiwan's economy, they encountered the decline of Hong Kong films, but then there was the strong rise of mainland films with a huge market, and Taiwanese artists all wanted to go to the mainland.
, basically it can be said that it is a bad year
Mainland movies are not like Hong Kong movies. The Hong Kong movie market itself is too small. There are only a few people in Hong Kong, and it is impossible to support a completely prosperous Hong Kong movie. But Mainland movies are different. The market is huge. This is a natural advantage. Light pressure can
Other movies overwhelm
———————————————————————————————————— The third update is here today, are there any flowers and trees?