Box office is hot! What does Japanese animated film win the favor of China market？

Special feature of 1905 film network In the just-concluded May 1st file, two Japanese animated films, Spy House Code: White, both ranked among the top five at the box office. The monthly box office champion in April was also a Japanese animated film.

In recent years, how did Japanese animated films win the favor of China market? Let’s watch the exclusive observation together.

Hollywood films are relatively weak, and audience enthusiasm shifts.

In recent years, in China film market, Hollywood blockbusters are relatively weak, while Japanese animated films have a strong momentum. Last month, "What kind of life do you want to live" performed well, earning 776 million yuan at the box office, and Douban scored 7.7. In the just-concluded May 1st file, the box office of "Spy House Code: White" and "Hal’s Moving Castle" also exceeded 100 million. The relay appearance of several Japanese animated films changed the situation that Hollywood films dominated in March and April.

Wu Yajun, dean of the School of Film and Television of the Central Academy of Drama, analyzed this phenomenon. "The first cause is called’ grabbing the beach and grabbing the files’. Every year, between the Spring Festival and the May 1 Golden Week, it can be called’ the cold season’, and there are some imported blockbusters, such as those that got more than 4 billion box office. In the past two years, Japanese animated films have gradually entered this cold period. For example, last year, there was "What kind of life do you want to live" in April this year.

What’s more, during the May 1 Golden Week, Hal’s Moving Castle and Spy House Code: White rushed into the big screen, which showed that the producers, especially the publishers, were confident that they could achieve good box office results during the May 1 Golden Week, and did not live up to the expectations of the publishers. "

Rich types to meet the diverse needs of the audience

In the past two years, it has been shown in China, with various types and stories, meeting the diverse needs of China audiences.

Sun Yanbin, a teacher at the Beijing Film Academy, pointed out that the Japanese animation introduced is mainly based on Hayashi Miyazaki, which has a strong authorship and ideological depth. The other is a series of IP movies like Detective Conan and Digital Baby.

In Wu Yajun’s view, audiences of all ages can find their favorite movies in the cinema if they want to see them, so the audience base is greatly enlarged.

"Another reason is that the audience in China has changed, and the growth rate of the audience in China has exceeded the growth rate of the global audience. Especially after the audience in China has seen these high-quality high-tech visual effects blockbusters, the audience in China is thinking deeply, and the intensity of feelings and emotional needs will be strengthened, so people like Miyazaki Jun and Makoto Shinkai can maintain a certain strength in the China film market." Sun Yibin said.

Buying out and introducing China Xuanfa is very powerful

Different from the split-box operation of Hollywood films, in recent years, most Japanese animated films have been introduced to China in the form of Chinese buyout, which also allows China importers to make great efforts in publicity.

Makoto Shinkai, director of Journey to the Bell Bud, came to China to promote, Hal’s Moving Castle invited popular stars in China to dub, and the premiere of Dunk Master at Peking University … … All these have gained good communication effects.

After the marketing experience of Nautical King, Journey of Bell Bud and Slam Dunk Master, Cai Gongming, president of Road Painting Film and Television, found that "in fact, IP needs to appear as a whole, not only to watch movies, but also to have support, goods and features. The premiere of "Slam Dunk" has begun to take shape, and the premiere of "Spy House Code: White" has been done to the extreme. It is a two-dimensional fan festival, which is equivalent to our first integration into a form for everyone. "

Wu Yajun praised this kind of publicity as very effective, which broke through the original secondary barriers and greatly developed social attributes. "I think it will become a more effective model in the future, which can promote the exchange and creative development of Chinese and foreign animated films."