This year marks the 250th anniversary of the normalization of diplomatic relations between China and Japan. In order to promote cultural exchanges and cooperation between China and Japan, on October 28, the "2022 Tokyo International Film and Television Festival - China Joint Booth" hosted by the Foreign Promotion Bureau of the State Council Information Office and the International Cooperation Department of the State Administration of Radio, Film and Television, hosted by the Shanghai Radio, Film and Television Production Industry Association, and participated by many domestic film and television institutions, held the launch ceremony of the "China-Japan Joint Film and Television Forum and 'Global Development, Audio-Visual Sharing' Japan Exhibition Season". The event is a combination of online and offline methods. The Shanghai branch venue was held in Shanghai Cultural Film and Television Technology Industry Cluster Area, located in the Qingpu area of Hongqiao International Central Business District. It connects four places with representatives of the Chinese and Japanese film and television industry in Beijing, Hong Kong and Tokyo to discuss the development and future of China and Japan film and television.
According to reports, Shanghai is the birthplace of Chinese films. Located in the Qingpu area of Hongqiao International Business District, the Shanghai Cultural Film and Television Technology Industry Cluster is a one-stop comprehensive service platform for the film and television industry built under the guidance of the Party Central Committee and the State Council on "Strengthening the Country with Culture and Technology" strategy, under the overall development goal of building a "global film and television creation highland" in Shanghai, and in accordance with the city's "1+3+X" film and television industry layout. The park will provide high-quality, fast, convenient and low-cost "one-stop" services for film and television companies and film and television talents around the world, and will become a world film and television conference living room, an important film and television talent training base and film and television technology creation platform, and will become an important engine for the economic transformation and upgrading of Qingpu and an important support for the improvement of urban energy level.
two-way exchange, film and television has become an important bridge and link between China and Japan friendship
Tokyo International Film and Television Festival (TIFFCOM) is one of the important film and television exchange platforms in Asia. In 2021, there were 313 national/region group exhibitors, 2,536 business negotiations, and the on-site transaction volume exceeded 211 million yuan. Due to the impact of the epidemic, it was held online in 2022. The Shanghai Radio, Film and Television Production Industry Association took the lead in organizing 32 well-known domestic film and television institutions to participate in the exhibition in the form of a joint booth of China. The promotional content types cover film and television dramas, documentaries, animations, columns, the Internet, distribution, post-production, meta-universe, etc.
Yan Chengsheng, Director of the International Cooperation Department of the State Administration of Radio and Television, pointed out in his speech that audio-visual works are an important carrier for carrying out cultural exchanges and promoting mutual understanding among the people. Fifty years ago, China and Japan achieved normalization of diplomatic relations, opening a new chapter in the exchange and cooperation of the two countries in audio-visual industries. In 1973, Japanese TV station (NTV) produced the Japanese version of the TV series " Water Margin ", which presented a gift to the normalization of diplomatic relations between the two countries. In 1980, China Central Television (CCTV) and the Japan Broadcasting Association (NHK) jointly produced the documentary "Silk Road", which set off a "Silk Road craze" in Japan. Over the past 50 years, China-Japan film and television exchanges and cooperation have been deepened, and mutual learning has become increasingly close. The Chinese people were impressed by excellent Japanese film and television works such as " Tokyo Love Story ", "Conan", and "Lonely Foodie". Chinese TV works such as " Romance of the Three Kingdoms ", " Langya Bang ", " I'm pretty good in a foreign land " are also loved by the Japanese people.
During this year's Tokyo Film and Television Festival, with the joint efforts of audio-visual institutions of the two countries, 24 excellent Chinese audio-visual works including "Beyond", "The Most Taste of the World is Qingyou", " You and My Fascinating Time " will be launched on TV media such as Japan Satellite Theater, Galaxy Channel, BS11, and new media platforms such as Amazon Japan Station. Through these vivid pictures and delicate and touching stories, Japanese audiences can have a deeper understanding of China's past, present and future.
Seek common ground while reserving differences, and make a joint film to tell the common story of both parties
Professional exchanges between the two parties are important content in the series of activities of the China Joint Booth. The China-Japan Co-production Forum is themed "Cooperation, Development, and Future". The China-Japan audio-visual industry jointly discusses the topic of film and television exchanges and cooperation, especially co-production.
co-production films have a positive effect on enhancing mutual understanding and mutual appreciation, but co-production films are mixed at home and abroad. How can we shoot works that everyone is welcomed? Chinese producer, film critic, and founder of Ikiki Culture Fujiiki believes that no matter what the subject is, "the most important thing is that the story has local characteristics and emotional realness can resonate. Don't deliberately emphasize the attributes of co-production films and the perspective of foreigners, you will shoot works that can make both audiences like each other." The famous Japanese film and television producer Ohita revealed that Chinese comedy has a market in Japan. He said: "My more than 30 years of experience in film and television work have made me realize that everyone pays special attention to the personality and uniqueness of the work." Not long ago, he brought " Dog King " to Beijing International Film Festival , and Japan Asmik, who received a warm response. Ace Co., Ltd. producer Fumi Takeuchi believes that "the content is best to provide something common to the world, but at the same time it must reflect the differences in culture and find a balance between the two."
Due to the differences in culture, co-production films are not as simple as 1+1=2. How to maximize the advantages of both parties in co-production and ultimately reflect them in the works is also a topic of concern to both film and television workers. Lan Tian, the director who produced and directed the first co-production film between China and Greece, also participated in the Sino-Japanese co-production film. He told a short story during the shooting process: "We shot a small street in China, and the plan was 45 minutes, but the Japanese side hoped to spend two or three hours shooting. We refused at first because we thought that the small street was very ordinary, but the Japanese photographer thought that the light and shadow of the small street were very beautiful. After coordination, it took a lot of effort to shoot, and the effect was really good. What I want to say is that the working modes of both sides are different. Only the more detailed the communication can we deepen the understanding and shoot works that both sides like." Sun Yunting, a well-known screenwriter and producer, also said that the Japanese drama topic The material is rich, in addition to historical themes, "the proportion of Japanese dramas with life flow is very large and is also very popular among Chinese audiences. Because the relationship between the characters and the plot are different from that of Chinese life, the audience will feel fresh. Therefore, China has remakes many Japanese IPs, but only by being similar in spirit rather than just the similarity of form, localizing based on Chinese culture, and 'remake' instead of 'translation' can the advantages of both sides be integrated."
has a long history, and China-Japan co-production has a great future
The guests all believe that China and Japan are neighbors with a strip of water, with great similarity and complementarity in culture, and there is a lot of room for cooperation between the two sides.
cartoon type has a huge market in both China and Japan. The guests on both sides also actively discussed the differences and cooperation possibilities in the production of Chinese and Japanese cartoons in the forum. Tadao Tsukioka, known as the "founder of the Japanese animation advertising industry", is the creator of the earliest foreign TV animation introduced by China - " Iron Arm Astro Bo ". He revealed that "in fact, before "Iron Arm Astro Bo", he created an animation originating from China's "Journey to the West", which is a long-standing connection." He believes that there is a lot of room for future cooperation between China and Japan. "China's CG technology is used a lot, and Japanese audiences are more accustomed to watching two-dimensional animations, so the usage rate of this technology in Japan is only about 15%, but now Japan is also having a heated discussion on whether more technologies will destroy content." Vice President of the Shanghai Animation Industry Association and Shanghai Fukuo Yuan Feng, chairman of Xu Film and Television Company, said that Chinese audiences are very open, "not sticking to some animation form. As long as the film is good, they can accept it. In the future, the integration of two-dimensional and three-dimensional technologies may have more room for development." Yu Il, CEO of Ranmai Technology Co., Ltd., which has participated in many China-Japan copyright cooperation, believes that the metaverse is expected to become a breakthrough for the cooperation between the two sides. "The metaverse is global, and Chinese and Japanese film and television people can communicate without obstacles in it."
Zhu Xiaoqian, deputy director of the documentary center of Shanghai Radio and Television Station, and senior producer of the Japanese NHK Entertainment Division, Yamaakashi Hiroyuki, respectively explained the possible cooperation between China and Japan documentaries, China-Japan variety shows and concerts.Zhu Xiaoqian believes that both Shanghai-style documentaries and Japanese documentaries are good at telling the story of "the fate of small characters in the big era". When shooting, they like to "not set expectations and follow up with an open mind". These similarities give a lot of room for Chinese and Japanese documentaries to be shot together; Hiroyuki Yamaaka took concerts as an example, believing that virtual singers who are popular among young Chinese and Japanese people can strengthen exchanges and cooperation, because "music can best cross national boundaries."
Yu Zhiqing, Secretary-General of the Shanghai Radio, Film and Television Production Industry Association, said that he hopes that China and Japan can share experience and deepen cooperation in new fields such as cooperation in film and television shooting locations, copyright development and protection, and promote the common development of the film and television industries of the two countries. The association will provide high-quality services for co-production.
Co., Ltd. Director of the President's Office of Guoyuan, famous producer Keizo Yoshikawa and Bilibili, were also exchanged speeches on the Japanese copyright business director Gao Yangfan, and other fields of China-Japan copyright cooperation and overseas distribution.
