As a seasoned cinephile who has traversed the labyrinth of global cinema for decades, I find the insights shared at the Busan Asian Contents & Film Market truly enlightening. The convergence of industry titans from different continents provides a unique perspective on the ever-evolving landscape of cross-continental film distribution.
Leading cinema professionals from Europe and Asia gathered at the Busan Asian Contents & Film Market for a discussion on the shifting terrain of international film distribution and commerce. They emphasized the rising influence of social media, the lasting impact of film festival accolades, and the intricate equilibrium between seasoned directors and up-and-coming talents.
A discussion, led by Katarzyna Siniarska of New Europe Film Sales, gathered experienced professionals hailing from Hong Kong, France, South Korea, Germany, and mainland China to provide their perspectives on the shifts and tactics in the market landscape following the pandemic.
I, as an appreciator of cinematic art, wholeheartedly agree with Felix Tsang from Hong Kong’s Golden Scene regarding the crucial role of universal storytelling in earning international recognition for films. In my opinion, when we invest in art house movies, particularly those produced in non-English speaking regions, it is absolutely essential that the film possesses a profoundly universal narrative.
Tsang shared that they recently uploaded a debate sequence from ‘Anatomy of a Fall’ on social platforms, shedding light on their marketing approach,” Tsang disclosed. “This particular post sparked numerous responses. People were actively contributing their personal accounts of disagreements within relationships.
As a movie enthusiast, I can’t help but notice the significant role social media plays in film promotion, especially in vibrant cities like Hong Kong. “Threads” has taken over the scene there; it’s no longer about Facebook, it’s all about Threads and Instagram. These platforms have become our go-to for stirring up excitement and engaging in lively discussions about upcoming films. It’s fascinating to see how they’ve become such essential tools in the world of cinema.
Jeanne Loriotti of Memento International emphasized the rising demand for Asian content in Europe, stating, “We’re striving to obtain more and more Asian content.” She pointed out a surge in interest from markets such as Germany, Spain, and France. Additionally, she discussed the delicate equilibrium between established storytellers and emerging voices, saying, “Our aim is always to discover new voices. We simply want to enhance the narrative.
Jung Taewon of South Korea’s Jinjin Pictures emphasized the challenge of attracting audiences back to cinemas in the post-pandemic era. “We are trying every effort to bring people back to cinema,” Jung said. He discussed the company strategy, which includes targeting specific demographics and utilizing Instagram campaigns.
Manuel Ewald, from Plaion Pictures in Germany, noticed a change in the moviegoers’ age groups. “It appears that films by renowned director auteurs with festival backgrounds continue to find a place in cinemas,” Ewald remarked, while acknowledging the struggle in capturing younger viewers’ interest. He also touched upon the hurdles faced when promoting animated films for adult audiences within Europe, noting a stark contrast compared to the more welcoming Asian markets.
Vivian Lou from Teamer International Media based in China talked about the evolving tastes of Chinese viewers. Lou stated, “Currently, we’re not feeling drawn to returning to movie theaters.” She further pointed out that emotionally resonant genres such as action thrillers or romantic films are particularly popular at this time. Additionally, she highlighted the growing trend of micro-series in China, where episodes can be as brief as 90 seconds, suggesting a transformation in viewing habits and increased competition for the traditional cinema format.
The panelists had a vibrant conversation centered around the movie “Robot Dreams,” an animated film that exhibited varying performances across diverse markets. Tsang pointed out its achievement in Hong Kong, crediting part of its success to the lack of dialogue in the film, which helped mitigate language difficulties. Jung explained that in Korea, they promoted it as an art-house production, emphasizing the connection between the robot and dog characters.
The conversation highlighted persistent issues within the international cinema industry, such as post-pandemic recovery, shifting viewer preferences, and the necessity for creative distribution methods in a rapidly changing environment. Throughout the discussion, the impact of film festival accolades on audience attraction was consistently mentioned. The panelists concurred that it’s crucial to embrace new technologies and media while preserving the universal appeal of storytelling across cultures.
About the declining viewership of niche movies, Jung and Siniarska suggested that it’s necessary to adjust our expectations.
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2024-10-08 03:16