新冠肺炎疫情之下中国电影行业的新现象、新格局——以电影《囧妈》为例

The New Phenomenon and Pattern in the Chinese Film Industry after the Novel Coronavirus Pandemic——Taking Lost in Russia as an Example

当下我国突发的新冠肺炎疫情使电影行业接连损失春节与情人节两大黄金档期。原定于春节档上映的作品《囧妈》因势利导从院线发行转至网络平台播映,激发了一场舆论风波。本次访谈针对这一非常态下的个案及其所引发的电影发行之现象进行深入探讨,提出电影作为媒介产品,影院是否还是电影最后堡垒的追问,借此比较院线与互联网发行模式带来的差异化消费体验,探寻新冠肺炎疫情期如何更好地规划和协调电影产业,也对疫情之后电影创作及相关产业的反思与调整提出期待。

The outbreak of coronavirus has aggravated the difficulties faced by the film industry,which had to give up the two golden periods of movie-going—the Spring Festival and the Valentine’s Day.Lost in Russia,which was originally scheduled to hit theaters during the Spring Festival holiday,had to be released on an online platform,leading to a major dispute in the media circle.The interview discusses the abnormal case and probes into the"phenomenon"of movie distribution caused by it.From there,it proposes a question that since movies are media products,should theaters still be the last fortress of movies?Furthermore,the interview compares the differentiated consumption experiences brought by theaters and Internet movie distributions,comes up with better planning and coordination of the movie industry in the face of novel coronavirus pandemic,and raises expectations for the adjustments of movie creation and relevant industries after the novel coronavirus pandemic.