The first is "export to domestic sales". The international success of Zhang Yimou and Chen Kaige's films, in turn, improved the domestic box office, which made many filmmakers take a similar approach-first winning international awards, and then improving the domestic box office through publicity. Of course, we must cater to the west for this. On the one hand, it adopts various wonders of oriental folk customs that are rare in the west, such as jumping on sedan chairs, blocking coffins and begging for rain. On the other hand, it adopts subjects of interest to the West, such as homosexuality and incest, and at the same time adopts western customary expressions. Such as a slip of the tongue in Farewell My Concubine; "No One Can Be Less" is adapted from a novel, which involves the problem of private education, but the director is worried that foreigners can't understand what private education is, so he deleted the plot.

The second is to strengthen publicity and hype and use the media to attract the attention of the audience. For example, before Xia Gang showed Red Cherry, it was reported that the family of the heroine Guo Keyu sued the film factory for shooting nude scenes, but it was later dropped. Nowadays, publicity and hype have become an important means, such as launching ceremony, premiere, star signature and so on. Plus the publicity of various stars. There is a phenomenon in business called "catfish effect". It means that long-distance trafficking in fresh fish will have a high mortality rate. If an active catfish is put into the water tank to activate other fish, the mortality rate will be greatly reduced.

Generally speaking, there are many problems in China's films.

First, institutional issues. China's film industry has traditionally adopted the method of selling copies, that is, the film studio only acts as the producer of the film and sells the film to the film distribution company in the form of copies, while the box office income of the film basically belongs to the film distribution company, and the film studio only gets a small part of it. Most movies sell dozens or hundreds. Individual films can only sell a few copies, leaving film studios in trouble.

Second, the multi-level censorship system of films. Film censorship in Chinese mainland is an internal system. Unlike most court trials or price hearings, it is not open to the public. This practice itself is full of non-institutional and "underground" colors. Therefore, calls for film censorship to stop black-box operations have come and gone. Black-box operation also does not conform to the principles of public economy. Many films are banned because of the problems of expression and expression, which hinders the development of China films.

Thirdly, the diversification of entertainment modes in commercial society, as well as the appearance of TV and smuggled movies, have led to the impact on the domestic film industry.

Fourth, the relatively high movie ticket price exceeds the average consumption level of the public, making watching movies a luxury.

Fifth, and most importantly, the failure of the film development strategy. In recent years, film studios are generally struggling, but they put forward a boutique strategy and advocate making a theme film, which is even worse for film studios. The key problem is that a movie lost and the audience lost confidence in the movie. To change this situation, we must first regain our trust and make a good movie. We must start with commercial films and invest in art films and theme films through the profits of commercial films.