As 800 is about to land in cinemas, the film market is bottoming out and rebounding. The long-awaited blockbusters such as “winning the championship” and “Jiang Ziya” have also set the release time and are running in. After 180 days of suffering, the film industry has finally ushered in a long-awaited recovery. Before that, the national film administration announced that the epidemic will cause more than 30 billion box office losses. In fact, the impact is not only on the income level, but also on the supply and demand side of the film industry, shaping the future development pattern. < p > < p > as early as the Spring Festival, the film “Jiong Ma” cooperated with byte skipping, claiming to “invite the people of the whole country to watch movies”, which opened the precedent for online broadcast of new year’s movies. Recently, “journey” and other films are also online in iqiyi, adopting the mode of single point payment. With the popularity of domestic intelligent devices and the maturity of video technology, projector, mobile phone and home cinema are more and more popular with viewers and become the alternative choice for cinema in special period. It is no coincidence that < / P > < p >. Overseas, in April this year, Universal Pictures adopted the mode of simultaneous screening of “spirit 2” on the Internet. Huamulan, a popular Hollywood film, announced that it would not log in to Disney + on North American cinema day after being delayed for several times. It can be viewed online for us $29.99 (equivalent to RMB 208 yuan). < / P > < p > industry insiders call 2020 the “Internet Film year”. Today, when mobile Internet has subverted almost all industries, the online and offline collision in the film industry will come sooner or later. The epidemic has accelerated the collision and advanced the time. In the past, offline cinema was almost the only distribution channel for films. However, films entering cinemas have higher threshold, higher production costs and higher professional standards. Quite a lot of films can’t get into cinemas. The industry has obvious “28 effect”. < / P > < p > the emergence of online release mode breaks the limitation of viewing time, space and threshold, making it possible for more tail movies to be displayed, and also provides a new track for all films, especially in the epidemic period. < / P > < p > most likely, the two are symbiotic. The former has to accept the existence and impact of the latter, and the latter cannot completely replace the former. < / P > < p > the reason for going to the cinema is to go out and relax, have a sense of ceremony, experience the large screen, large space and immersive feeling; at home is to enjoy private space, which are two different experiences. It’s like ordering takeout, but it can’t replace the taste of the food. In recent years, the number of cinemas and screens in China has increased year by year, but the growth rate of box office has shown a downward trend, and the “ceiling” of traditional cinema lines has appeared. From stage and cinema to website and virtual reality, communication channels and carriers are changing. Today’s cinemas may not be replaced by online screening, but the viewing mode will eventually be subverted by technological progress. In recent years, domestic films have impressed people. For example, the story “I am not the God of medicine” has hit the nail in the eye and poked tears. Wandering earth has greatly improved the industrial production level of domestic sci-fi films. The arrival of Nezha Devil boy has made the audience see the hope that “the light of national man” can match manwei. The young you shows the problem of campus bullying from the perspective of realism In front of the audience, it has caused extensive discussion in the society. The “happy Mahua” series has effectively supplemented the comedy market and become a big choice for everyone to release pressure Recently, many remakes such as Harry Potter and the Sorcerer’s stone, Star Trek, and the journey to the dream ring have also been sought after by the audience, proving once again the lasting charm of classics. < / P > < p > the above shows that high-quality content is very important and plays a decisive role in word-of-mouth and box office. After the waves, after repeated routines, the audience has become more and more picky, no longer blindly chasing the star effect, visual effect. The once used “IP + traffic star” mode, the homogenization of the plot, empty content makes the audience aesthetic fatigue, even disgust. On the contrary, some movies with high scores on Douban often kill a “black horse”. < / P > < p > compared with the “where to see” question, the “see or not” question is more important, depending on the content. In other words, the content is good enough to have the freedom and confidence to choose cinema and online. < / P > < p > compared with the mature film industry and sufficient talent reserve in the United States and Japan, it can deliver a continuous stream of original IP. At present, the mainstream of domestic movies is still the adaptation of well-known IP, which repeatedly “reaps” the accumulation of classic events and works, such as the excavation of classical myths in Jiang Ziya, the promotion of women’s volleyball spirit by winning the championship, and the sublimation of Anti Japanese spirit by 800. < / P > < p > facing the “embarrassment” of the original, it just shows that the space for content creation is broad enough. The epidemic situation is a reshuffle of the film market, which has improved the company’s risk preference. Without hard core content support, it is difficult to “survive”. More and more companies firmly pay attention to content and bet on originality, which is another key point for breaking the situation in the post epidemic era. < / P > < p > there are some high-quality content producers and small workshops that have not survived the “cold winter” under the huge market risk and financial pressure; there are also some films with high scores, which have a good effect of word-of-mouth communication, but the box office is not good, which is lost in publicity and marketing. < p > < p > benchmarking is internationally advanced. The film industry has a complete set of complete system and industrial chain: a complete talent training system, a production system, a technical production system, a marketing system, an evaluation system and a supporting financial and taxation support system. In terms of human, financial and material, the film industry has been given sufficient support, forming a strong self circulation. < / P > < p > in comparison, we often use the scale of cost and box office to compare roughly, ignoring the systematic evaluation and competition, and ignoring the extension of copyright and surrounding industrial chain. What is gratifying is that with the continuous expansion of China’s film market, the industrial standard of Chinese film has been constantly improved, and the supply of high-quality content has emerged one after another. “Wandering the earth” is a good example, and “Nezha magic child” and “warwolf 2” and other films are more “Jiaozi”, Wu Jing and other personal heroism. This is undoubtedly the right way, although the road ahead is not easy. < / P > < p > we marvel at the ultra-high technology level and the spiritual core of “American heroes” in Marvel animation films. In the future, Chinese films will also have their own “God universe” and heroes. After shuffling and refining, Chinese films will have stronger risk resistance, clearer content orientation, and more complete production system, so as to break the situation and “seal the gods”.