Wang Baoqiang was brutally banned? The connotation was disclosed by capitalists in the industry, and the ultra-long point of the film industry provoked most of the film circle

Recently, the new movie "In the Octagon Cage" directed by Wang Baoqiang has aroused public criticism from Yu Dong, a bigwig in the industry. Wang Baoqiang, because of his past and present works, has become a hot search topic many times.

This time, although his new film has received good box office and audience support, it has caused dissatisfaction in the industry because of its ultra-long screening strategy, especially Yu Dong. Yu Dong, founder of Bona Film Group and vice chairman of Beijing Film Association, has directed many well-known films.

He criticized Wang Baoqiang's film for its ultra-long screening strategy, believing that this strategy may not only cause audience aesthetic fatigue, but also affect the release of other films in the same period. Wang Baoqiang expressed his gratitude to fans in the follow-up and did not directly respond to Yu Dong's remarks.

In the film industry, which is more important, strategy or quality? Should the quality of a film be sacrificed in pursuit of a higher box office?

When there is a discrepancy between industry reviews and mass audience feedback, how should directors and producers balance?

As Yu Dong commented on the "Avatar" series, do audiences with different cultural backgrounds really have different movie tastes?

Wang Baoqiang, a director and actor who has attracted much attention in the Chinese entertainment industry, has frequently become the focus of the public in recent years, both in his private and professional life. His new work "In the Octagon Cage" has once again attracted a lot of attention and discussion, but this time the focus is not entirely because of the content of the film, but because of its release strategy.

In the film, Wang Baoqiang chooses a poor area as the background, telling a story about poverty, struggle, hope and change. This film shows many dark phenomena in reality, such as the dark trading behavior of capital and the phenomenon of arbitrary fees in schools, which are closely related to real life and cause the audience to think deeply.

However, although the content of the film is deeply loved by the audience, its strategy of ultra-long screening has caused controversy in the industry. Yu Dong, a big man with an important position in the film and television industry, publicly criticized this strategy. He believes that the ultra-long screening may not only cause audience aesthetic fatigue, but also affect the release of other films in the same schedule.

This raises an interesting topic: in the pursuit of box office, which is more important, the strategy or quality of the film? Some people believe that the quality of a film can be slightly sacrificed with the right strategy. But there are also people who believe that the quality and content of a really good movie are the most important.

In addition, when there is a discrepancy between industry reviews and mass audience feedback, how should directors and producers balance them? Wang Baoqiang chose to be grateful to his fans instead of directly responding to Yu Dong's remarks, which is also a high emotional intelligence approach.

Finally, cultural differences are also a topic that cannot be ignored. As Yu Dong commented on the "Avatar" series, he believes that this series is not suitable for Chinese audiences. But in fact, "Avatar" has been a huge success in China. Does this mean that audiences from different cultures really have different tastes for film?

In general, the film industry is a complex field with many issues involved. But no matter what, we want to see more good movies that bring us more thinking and fun.

In the context of globalization, how film, as a cultural carrier, can be accepted and appreciated in different cultural backgrounds has become a problem that producers and directors need to think deeply about.

Take "Avatar" as an example, the film has been a huge success worldwide, but in different cultural contexts, audiences have different acceptance and interpretation of it. So, when promoting films globally, how should we balance localization and globalization strategies?

How do the cultural elements in the film affect audience acceptance? Should the content of the film be changed to cater to audiences from different cultural backgrounds?

In the context of globalization, how does the localization strategy of a film affect its box office and word of mouth in different regions?

In the process of film production and promotion, how to overcome the challenges of cross-cultural communication so that films can be accepted in different cultural contexts?

Film, as an art form, is not only for entertainment, but also for the transmission and exchange of culture. In today's globalized world, the audience of movies is no longer limited to one country or region, but all over the world. This creates new challenges for filmmaking and promotion: how can it be accepted and appreciated in different cultural contexts?

Take Avatar, for example, the film, although made in the United States, was a huge success worldwide. However, audiences of different cultural backgrounds interpret and accept it differently. For example, for Western audiences, they may pay more attention to the technology and special effects in the film, while for Eastern audiences, they may pay more attention to the emotions and character relationships in the film.

This begs the question: how should a film balance localization and globalization strategies when promoting it globally? On the one hand, the film needs to contain some universal elements that can be transmitted across cultures, such as love, friendship, conflict, etc.; On the other hand, films also need to take into account the characteristics and needs of audiences with different cultural backgrounds and make certain localization adjustments.

In addition, the localization strategy of the film also directly affects its box office and word of mouth in different regions. For example, some Hollywood blockbusters have made certain localization adjustments in the Chinese market, such as adding Chinese elements and inviting Chinese actors to participate, which has helped to improve the acceptance of films in the Chinese market.

However, there are also certain risks in the localization strategy of the film. Excessive localization may cause the film to lose its original characteristics and charm, while insufficient localization may cause the film to be difficult to accept in some regions.

In general, how to balance localization and globalization strategies in the context of globalization is a problem worthy of in-depth study. Only by truly understanding the needs and characteristics of audiences with different cultural backgrounds can a film with real global appeal be produced.