After a calm reflection, a cold water is poured on the best-selling IP resource market
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In 2013, the discussion about high-quality IP resources once again attracted people's attention, and in 2014 the IP resource market began to show a trend of over-consumption. Gao Xiaosong's nursery rhyme "You, My Deskmate" alone was adapted into a movie. The commercial myths that can be interpreted by the so-called "IP" seem to be beyond our imagination. IP stories have a long history. In fact, IP, which is known as "intellectual property", is not a new term in the Internet era. As early as the heyday of Zhang Yimou, the first generation of Chinese director, the excavation of IP was an important foundation for building the entire domestic film market. For example, the early film works "Raise the Red Lantern" and "Red Sorghum" that helped Zhang Yimou successfully enter the international stage were adapted from the novel "Wives and Concubines" by the famous writer Su Tong and the novel "Red Sorghum Family" by Mo Yan, the Nobel Prize winner in Literature. And the martial arts film "Crouching Tiger, Hidden Dragon" by Ang Lee, the first Chinese director to win the Oscar for Best Director, was adapted from the work of the same name by Wang Dulu, a Beijing martial arts novelist in the late Qing Dynasty and the early Republic of China. This simple textual adaptation from novels to scripts actually reflects the immature state of various links in the industrial chain in the mainland film market at that time, whether it is directors, actors, screenwriters, equipment, etc. Compared with the Hollywood film market in the same period, the source of film scripts has expanded to comics, social events, real people and real stories. With the full arrival of the entire Internet era, the mainland film market has begun to be unstoppable and dig deep into high-quality IP resources. Especially after the Internet giants BAT entered the film and television industry one after another, the film market under the Internet thinking began to gradually enter the era of high-quality IP with commercialization as the direct expression. At present, the breadth of film and television drama themes has spread from a best-selling online novel to social news events, biographies, variety shows, and even a classic song, especially the successful remake of Gao Xiaosong's original song "My Deskmate", which prompted him to officially transform from a musician to a film and television producer. And next, the movie version of the classic song "Gardenia Blossoms" originally sung and directed by host He Jiong will also be officially released. At the same time, there are news that classic songs such as "You in My Life" by Shuimu Nianhua, "The Brother Who Sleeps on My Upper Bunk" by Lao Lang, and "She Came to Listen to My Concert" by Jacky Cheung will be adapted into movie scripts and put on the big screen. Obviously, the intervention of capital, mainly Internet companies, has led to and stimulated the Internetization of the film and television industry, and the capital's rush for high-quality IP has prompted more and more high-quality IP resources to be transformed into film and television power. However, the most prominent performance of the entire film and television market is that under the frenzy of the market, major film and television companies have begun to purchase and hoard IP resources in large quantities and blindly. In this regard, some industry insiders said that a good IP is not equivalent to a successful film and television work. In the absence of a basis for judgment, IP only provides a reason for investors. For non-in-circle investors who lack sufficient experience and standards in the film and television industry, they will always face a test, that is, how to judge the market value of an original story. After the outbreak of the entire IP-centered film and television market, we have to start thinking about the various crises that are hidden in it. The IP market that urgently needs to cool down has increasingly shown a trend of guiding film and television works beyond other original leading factors such as directors and actors, and capital's betting on high-quality IP has also continuously increased the popularity of this industrial chain. However, after the box office of films such as "One Step Away", "Everything Grows", and "Why Sheng Xiaomo" that were also transformed from IP resources was not ideal, the use of IP has also begun to enter the real thinking level. Some industry insiders said that the transformation of high-quality IP is actually difficult, because with the explosive growth of the film industry, the industrial assembly line production level of the film and television industry has not developed rapidly accordingly. The most prominent manifestation is that the talent pool is difficult to digest the existing IP resources, such as the script writers urgently needed under high-quality IP. On the other hand, the tight IP resource market has not stimulated the enhancement of original power. Relatively speaking, IP is a limited resource space after all, and originality is an unlimited development venue. And this can be extended to the discussion of the early Hong Kong film market. Hong Kong films can be said to be the pioneers of the entire Chinese-language film market. For decades, Hong Kong films have not only become the industrial base and export place of Chinese films, but also set a model for the entire Chinese-language film market. The Hong Kong film market is more perfect than the mainland Chinese market in terms of professional division of labor and organizational structure, but compared with Hollywood's "industrial rules", it still seems casual and mobile. For example, early Hong Kong directors Tsui Hark, Wong Kar-wai, Johnnie To, and Stephen Chow often maintained a habit of making films without scripts or improvising on the spot and making changes as they were filmed during the filming process. And it is precisely this seemingly "non-compliant" practice that has fostered many classic film and television works in the golden age of Hong Kong movies. In fact, this is also the manifestation of the power of originality in film and television works. Under the dominance of a high-quality IP resource, the characters, plots, and selling points in the adapted scripts often do not exceed the established scope of the original work, which is an important shortcut to both ensure the strong advantages of the fan economy and achieve the basic goals of monopoly capital. Of course, it is also an important manifestation of stifling innovation under IP resources. More importantly, as an art form and cultural product, film already has the function of spreading cultural ideas, not just a means to achieve commercial value. In the future, once this basic function is missing, even if the box office of movies increases in the short term, it will still be detrimental to the sustainable development of the film industry in the long run.As a winner of Toutiao's Qingyun Plan and Baijiahao's Bai+ Plan, the 2019 Baidu Digital Author of the Year, the Baijiahao's Most Popular Author in the Technology Field, the 2019 Sogou Technology and Culture Author, and the 2021 Baijiahao Quarterly Influential Creator, he has won many awards, including the 2013 Sohu Best Industry Media Person, the 2015 China New Media Entrepreneurship Competition Beijing Third Place, the 2015 Guangmang Experience Award, the 2015 China New Media Entrepreneurship Competition Finals Third Place, and the 2018 Baidu Dynamic Annual Powerful Celebrity. |
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