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In Cha's article, he talks about the problem of selling bad marketing in the film industry and why this strategy no longer works in some cases. I will reorganize the structure in the following article, using different grammars and sentence patterns, while adding some of my own opinions and analysis to achieve the purpose of improving originality.
It has been 15 days since the movie "Tomorrow's War" was launched, but the box office has only exceeded 400 million, which is regrettable. The film invested nearly 500 million, took ten years, and the box office had to reach at least 1 billion to recoup the cost, but now that goal seems out of reach. The filmmaker, 52-year-old Koo Tianle, has shed tears in public many times.
Before that, film creators often stood up to complain when the box office was not good, which usually resonated with the audience. However, recently, many netizens have expressed that they no longer accept this kind of miserable selling method, and believe that this embarrassing way of marketing movies should no longer be used.
This isn't the first time the film industry has rolled over miserable marketing. For example, in July this year, the promotion roadshow of the domestic sci-fi animated film "Out of the Earth" was not cared for, and the director said that he felt tears, but the audience thought that they should be attracted with better works instead of relying on the pathos card.
There are three main starting points for selling misery marketing. First of all, the producers want to get more opportunities, especially for some films with relatively niche themes. For example, the 2016 film "A Hundred Birds and Phoenixes" had a low ranking rate because the theme was relatively niche, and director Fang Li did not hesitate to kneel to increase the ranking rate, which was controversial but effectively increased the ranking rate and box office.
Second, filmmakers want to attract audiences into the cinema by selling miserably. Domestic films are usually characterized by large productions, large investment but small returns, and the film side hopes that the audience will pay for the so-called "good works" out of sympathy. In addition, the rise of nationalist sentiment has also made audiences more willing to support domestic films.
Third, selling misery marketing also includes touching the audience's emotions, such as nostalgia or love for classic actors. The audience is willing to pay for the memories of their youth, such as the emotional card for Stephen Chow, the audience will say "We still owe Stephen Chow a movie ticket".
However, selling misery marketing is not a static strategy for success. Audiences have higher and higher requirements for film quality and word of mouth, and the quality of film content has an increasingly important impact on the box office. Back then, selling badly could stimulate the audience's desire to buy genuine movies, but now the audience's impression of selling badly mainly stays at the lack of attractiveness of the movie itself. Movies must have strong content support, and it is likely to be effective if it sells badly.
In addition, today's society has become less tolerant of the entertainment industry, and audiences value the quality of the film more than the personal emotions of the actors. Audiences want the film industry to focus on providing quality entertainment rather than relying on the pathos card to attract them. Selling too much can lead to disgust among viewers and even damage the reputation of the entire industry.
To sum up, miserable marketing still has a certain role in the film industry, but it needs to be moderately marketed based on the quality and word-of-mouth of the film, rather than relying on the sympathy of the audience. With the improvement of the audience's requirements, the effect of selling miserable is not as obvious as before. The film industry needs to focus more on content and quality, not just emotional marketing. Otherwise, the industry will be in real trouble.
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