Rebirth of the Great Entertainment Empire

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"The world's number one director Xu Cun will personally direct a Korean movie!"

"The world's number one director Xu Cun intends to help Korean films rise?"

"..."

Once these news came out, it was like an atomic bomb was thrown into the film industry that had been quiet for a long time, making the entire film industry boil!

At the same time, many filmmakers are wondering why Xu Cun is getting so caught up in it. What is there to do in South Korea, a country that hardly even has films (in the eyes of foreigners)?

However--

Before people digested the news of the explosion, another even more exciting news came out-Xu Cun was planning to direct a Korean movie and a Japanese movie at the same time!

Double open!

Some filmmakers who knew that Xu Cun was going to double play felt that Xu Cun was crazy. Even if he didn't care about his reputation, he couldn't play like this, right?

Some filmmakers thought that Xu Cun was having too much free time, and was going to fool the Japanese and Koreans for some fun.

Most filmmakers believe that Xu Cun may only have one name in these two films or one of the two films, and the real director is someone else.

Of course, the majority of filmmakers are still waiting to see Xu Cun's "good show" - they are waiting to see, what level of "work" can Xu Cun double release two "works"?

Leaving aside the uproarious discussions outside, why did Xu Cun want to make another Japanese movie?

Asking this question, I have to say that Xu Cun is going to make a Korean movie.

Not long after Xu Cun let someone release the news that he was planning to audition the crew and actors to make a film in South Korea, there was a strong voice of dissatisfaction from Japan!

Although after World War II, Japan was once occupied by the United States and faced the danger of extinction. However, after the war, in order to establish Japan as an Asian bridgehead to contain the Soviet Union and the Red Wave, the United States gradually lifted the ban on castration-style suppression of Japan in the early 1950s and changed it to limited support. After that, relying on the wealth plundered from Asian countries during World War II and the industrial foundation left by the Meiji Restoration period, Japan became the second largest economy in the world in just over 20 years. Similar to the United States, Yiran has realized its dream of a world-class industrial power that it failed to realize before World War II.

However--

Compared with Japan's current huge economy, which is so huge that even the United States is afraid of it, Japanese movies have never been able to keep up with the rise of Japan's economy.

actually--

Japanese movies, like Korean movies, have had glory and splendor.

Of course, more is experience and lessons.

At the end of the last century and the beginning of this century, relying on the Meiji Restoration, Japan quickly became a powerful power in Asia and the largest power in East Asia. Japan’s development in industry, economy, education, etc. made it the first time after the birth of movies. It was brought to Japan, and Japan became one of the first countries in Asia to be exposed to movies.

Before the 1930s, the Japanese film market was dominated by silent films.

Later, because of the Russian Revolution, a large number of films with a clear class criticism nature were born, such as "Proletarian Bulletin", "Children", "Odagawa", "May Day", "Noda Gongchao" and so on. As a result, the Japanese government and Japanese chaebols regard domestic films as thorns and cancers, and have been implementing the "limited support and suppression policy".

During World War II, the Japanese government set up a special agency and ordered domestic secret agencies to cooperate, prohibiting the production of films with a tendency to criticize society, and encouraging the production of so-called "national policy films" - making films a tool of the government.

After Japan surrendered, although the film law formulated by the former military government has been abolished, the strict censorship system still exists, but the inspection by the Japanese military government has been replaced by the U.S. military occupation authority. The territory doesn't talk about dog dictatorship, and of course it can't talk about democracy, especially when it comes to seditious propaganda tools like movies.

It was not until the mid-to-late 1950s, with the re-emergence of the Japanese economy, that there was a wave of "going out" and "independent production" in Japan, and it once became a representative of Asian films in the eyes of Europeans and Americans. During this period, Japan gave birth to a series of great directors with considerable influence in the world, including Akira Kurosawa, Keisuke Kinoshita, and Kaneto Shindo.

However--

Because of the excessive pursuit of art and human anatomy, Japanese films have since embarked on a wrong path of emphasizing literature and art over commerce. As a result, in the 1970s, with the birth of the post-war generation of Japanese, the new generation of Japanese who had not experienced the war and post-war pain could not understand the thoughts and deep meanings expressed by the older generation of filmmakers in their works. Coupled with the development of Japan's light electronics industry, the rapid popularization of TV sets has become a must-have item for Japanese households. The loss of audiences and competition from the small screen caused Japanese films to decline rapidly after the last glorious twilight of the 1970s.

It is worth mentioning that, just like the Hong Kong films before their decline in history - during this period, Japanese films also appeared a large number of shoddy follow-up films, and many well-known Japanese filmmakers also invested in the production of pornographic films. The momentarily brilliant Japanese films became a must-have means of attracting visitors to small video halls in Asia and even in Europe and the United States.

Nowadays, although Japan can contribute more than one billion U.S. dollars to the total box office every year, Japanese domestic films only account for less than 30% of the market share—taking last year as an example, last year Japan contributed more than 1.6 billion U.S. dollars However, Japanese domestic films only took nearly 400 million U.S. dollars in box office, accounting for a little over 24% of the total market share (Hollywood films accounted for 25.7%, Hong Kong film wars 31.6%, the rest of the market share was divided by films from the Soviet Union, Eastern Europe and other countries.).

The Japanese are extremely dissatisfied with the status quo of Japanese movies. They desperately hope that Japanese movies can catch up with the pace of the Japanese economy.

It is precisely because of this that when the Japanese heard that the world's number one director was going to make a Korean movie and help Korean movies rise, they immediately became strongly dissatisfied!

The Japanese have reason to be dissatisfied-in terms of strength, Japan, which has already risen, is stronger than South Korea, which has just begun to rise. In terms of support for Hong Kong films, DreamWorks films, and especially Xu Cun himself, the Japanese can almost be said to be number one in the world at present! In terms of closeness, there are at least four Japanese female artists who are Xu Cun’s rumored girlfriends (Michiko Nishikyo, Dokari Oshima, Yasuko Tomita, Noriko Sakai, Rieko Miura and Nanako Noguchi who have been protected by Xu Cun due to their relatively young age. with.), while South Korea has none! From the Japanese point of view, Xu Cun should choose Japan or South Korea for help, no matter what!

Just as the Japanese thought, Xu Cun's relationship with Japan was indeed much closer than that with South Korea, so much so that Xu Cun knew it as soon as the Japanese expressed their dissatisfaction.

After knowing the news, Xu Cun only thought about it for less than five minutes before someone spread the word: This time, he, Xu, was planning to release a Japanese movie and a Korean movie at the same time.

While spreading the news, Xu Cun also asked people to spread the names of the two films - "Love Letter" and "My Sassy Girlfriend" to prove the authenticity of what he said.

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