浙江电影:十年辉煌,未来可期
『浙』十年特别视点  SPECIAL FEATURE: ZHEJIANG IN THE PAST DECADE
浙江，历史悠久，人文荟萃，与中国电影有着不解之缘。这里曾走出许多著名的电影艺术家，在中国电影史上留下了众多彪炳史册的作品。浙江自身的电影制作产业诞生于20世纪50年代，勃兴于20世纪80年代，浙江的电影人
筚路蓝缕、艰苦玉成，为中国当代电影史留下不少可圈可点的作品。
近十年来，浙江电影业 “筑巢引凤”“借船出海”“自
主创新”三箭齐发，开始了新一轮的发展历程，逐步成为
文/张子帆
中国电影大省和强省。
“三箭齐发”  走向世界
“筑巢引凤”“借船出海”“自主创新”三箭齐发，是浙江电影新一轮发展的驱动引擎。
筑巢引凤，是指浙江电影管理部门制定和实施一系列
浙江电影：十年辉煌，未来可期
十年来，浙产动漫电影异军突起，表现卓越。
In the past ten years, Zhejiang-produced animation fi  lms have become increasingly popular with their excellent performance.
集团、东海电影集团等国内著名影视机构在此落户。风光秀丽的西溪湿地成了名副其实的藏龙卧虎之地。种好梧桐树，引来金凤凰。这一系列举措为浙江电影的生产和发展营造了极为良好的生态环境，从而使浙江电影呈现出前所未有的繁荣态势。
借船出海，这是浙江电影生产繁荣发展的又一条成功
经验。浙江的影视制作公司瞄准优质电影项目参与投资，
从《集结号》到《私人订制》（2013）、《大闹天宫》（2014）……浙江电影伴随中国电影的大片时代发展脉络，借鉴、吸收、消化、创造。在这过程中，浙江也在研究全球电影的成功经验，使浙江电影逐渐成为中国电影的一个强大力量。既付出了艰辛，也取得了真“经”。另外，《第101次求婚》（2012）等合拍片的出现，也标志着浙江电影向海扬帆，驶向国际
大舞台。
自主创新，是浙江电影产业自身发展的最终目标。浙
江电影人在探索、实践的历程中，逐步学会自己走路。浙江启动文化精品扶持工程，出资扶持影视重点项目；设立浙江电影“凤凰奖”，奖励浙江本土电影；通过一系列措施和途径，培养造就浙江影视领军队伍。2013年，有“浙江电影梦工场”之称的东海电影集团有限公司挂牌成立，标志着浙江形成了电影制作、发行、放映和影视新业态全产业链全面发展的新格局，助推浙江成为中国影视产业副中心和影视行业领军者。同时，大力组织举办各类电影文化活动，为浙江电影发展营造浓厚的氛围，让大众“关注
电影、走近电影、创作电影”。
渐入佳境    风生水起
当各地电影资源不断涌入浙江的同时，产生了一个新
的概念：“浙产电影”，用来囊括浙江所参与制作出品的电影。这一概念主要是从电影产业所在和属地管理角度来界定的，体现的是前文提及的浙江电影生产环境优渥所带来的产业红利。
在“浙产电影”这一品牌效应下，浙江十年来拥有了
一系列优质电影产品，叫好叫座，引人注目。据不完全统计主要有： 2013年：《私人订制》；2014年：《智取威虎山》； 2015年：《捉妖记》《老炮儿》； 2016年：《湄公河行动》《盗墓笔记》；
2017年：《羞羞的铁拳》《芳
华》《悟空传》； 2018年：《天渠》； 2019年：《老师好》
《春江水暖》； 2020年：《八佰》； 2021年：《红船》《你好，李焕英》《柳浪闻莺》； 2022年：《李茂扮太子》《这个杀手不太冷静》《独行月球》《妈妈！》……
可以看出，十年来，“浙产电影”题材丰富多样，风
促进电影生产制作的优惠政策，为企业、为电影人提供优
质的服务，营造良好宽松的艺术生产环境，吸引各地的影视公司入驻浙江，并让入驻浙江的影视公司充分感受到浙江影视产业发展的美好前景。
浙江影视基地的繁荣，从一个侧面反映出扎根于浙江
进行影视作品拍摄制作的公司日益增多。从2012年开始，作为浙江电影的“关键词”之一，以横店影视基地、象山
影视城为代表的影视基地的产业集聚发展格局基本形成，正逐步扩大规模，力争打造一流影视基地。2020年，象山
影视城搭建了国内首个LED 摄影棚，主要为视效要求较高的科幻电影服务，它所呈现的虚拟场景将从一定程度上取代绿幕的运用。这也反映出浙江在影视拍摄基地建设方面实力不俗。
几乎在同时，浙江有关部门还在杭州西溪湿地辟出一
块“风水宝地”，建立西溪创意产业园，诸多著名影视剧
作家在这里建立工作室，华策影视、长城影视、浙江影视纪录片《我在故宫修文物》记录故宫书画、青铜器、宫廷钟表、木器、陶瓷、
漆器、
百宝镶嵌、宫廷织绣等领域稀世珍奇文物的修复过程和修复者的生活故事。The documentary I Repair Cultural Relics in the Forbidden City records the repairing process of such rare cultural relics as painting and calligraphy, bronze ware, palace clocks, wood ware, ceramics, lacquer ware, among others, as well as the stories of their repairers.
『
浙』十年特别视点  SPECIAL FEATURE: ZHEJIANG IN THE PAST DECADE
格多元迥异，产量和质量渐入佳境，进入年度票房前十的
影片也逐渐增加，可谓成果丰硕，成绩斐然。越来越多的“浙产电影”在电影金鸡奖、百花奖、华表奖、全国“五个一工程奖”以及诸多国际电影节中屡获大奖，佳讯频传。
十年来，除了故事片风生水起，浙江的纪录电影也有
长足亮眼的发展。这一波的发展来自浙江有关部门的重视
和助推。2015年年初，浙江从发展规划、发展方向、创作主体的培育、播映平台的建设、人才保障、资金扶持等方面多管齐下，助推浙产纪录片发展。同年，浙江省纪录片协会成立，即着手筹划举办“西湖国际纪录片节”。浙江省率先从省级层面上主动为纪录片行业搭建平台，建立行业准则，为新一轮浙江纪录片发展推波助澜。2017年，首
届“西湖国际纪录片节”在中国美术学院盛大启幕。此后每年一届，至今已办五届。从《喜马拉雅天梯》（2015）、《我在故宫修文物》（2016）、《罗长》（2017）、《一百年很久吗》（2018）、《无臂七子》（2019）到《武汉日夜》（2020），浙产纪录电影日渐受人瞩目。
十年来，浙江的戏曲电影也在稳健发展。浙江戏剧资
源丰沃，戏剧种类丰富，名家名作迭出，传播基础深厚，
积淀了一大批脍炙人口、广为传播的经典戏曲电影，如《梁山伯与祝英台》（1954）、《十五贯》（1956）、《孙悟空三打白骨精》（1960）、《五女拜寿》（ 1984）等，为浙江成为戏曲电影大省奠定了坚实的基础。近年来，一直对戏曲电影有着深厚情感的浙江电影工作者坚持不懈地深耕于这块沃土，编写和拍摄了《情探》（2017）、《何文秀》（2019）、《典妻》（2019）、《唐琬与陆游》（2019）、《李慧娘》（2020）、《孙悟空大战红孩儿》（2021）等优秀的戏曲电影，如幽兰新葩散发着迷人的馨香。
十年来，浙江的动漫电影更是异军突起。之前，中国
的动画电影曾被评论为“达到世界第一流水平，在艺术风格上形成了独树一帜的中国学派”，并开始向世界展示自己的实力。比如《昆塔·盒子总动员》（2013）、《大圣归来》（2015）、《大世界》（2017）、《济公之降龙降世》
（2021）等佳作相继问世，努力打造具有国际影响力的中国动画形象，在中国动漫界大有领军之势。
勇立潮头  薪火相传
十年来，浙江电影创作逐渐形成了自己的格局和风格，
这既是浙江的特，也是浙江的优势：一批更具包含度和工业化属性的“新主流电影”引领创作潮流，打破了传统
意义上主旋律电影、商业电影和艺术电影三足鼎立的局面，体现了浙江电影坚守导向、立足人民的创作立场，同时也
标志着电影产业发展进入了正确的市场路径和轨道；电影类型更为丰富，为电影工业题材类型以及电影审美注入创新的动力。近年来，浙江文艺电影已经奋起直追，不但在海内外各类电影节上频频获奖，而且走上了海外拓展之路。具有“浙派风格”的影像特征呼之欲出，从《春江水暖》到《云霄之上》和《柳浪闻莺》，体现出对于江南地域风情的展现以及对于“诗性电影”传统的传承。浙江电影人在实践层面呼应了当下“中国电影学派”的崛起与发展。十年来，浙江电影产业勇立潮头，业绩辉煌，处于中国电影的前沿。
电影创作生产的繁荣大大促进了电影市场的繁荣。截
至2021年，浙江有注册影视公司近4000家，横店、象山等影视基地从业人员数量节节上升，如横店演员公会注册登记的“横漂”目前达到9.48万人。2021年，浙江新增
影院58家，新增银幕360块，浙江影院总数达到820家，银幕总数达到5716块，票房35.74亿元，交出了一张漂亮的成绩单。浙江是一块电影产业创作和消费的厚土、沃土
和热土。
浙江电影创作生产的繁荣大大促进了电影教育的繁荣。浙江大学、中国美术学院、浙江传媒学院等各大院校里，关于影视创作生产制作全产业链各环节的专业（包括史论研究、创作评论）基本齐全，一代电影新人在成长，他们是浙江电影可持续发展的未来力量。浙江电影事业将在一代又一代浙江人手中薪火相传。
十年来，我们看到了浙江电影人的万丈豪情，看到了
浙江电影产业的勃勃生机，看到了浙江电影的美好未来。未来的浙江电影将奋力推动高质量发展，为电影强国建设
作出新的更大贡献！
浙江电影院观影现场。董旭明/
影院私人摄
Audiences are seen at a movie theater in Zhejiang. Photo by Dong Xuming.
Zhejiang’s Films: A Decade of Success with a Brilliant Future
By  Zhang Zifan
Zhejiang, with a long history and rich cultural heritage, has an indissoluble bond with China’s fi lms. Many famous fi lm artists have emerged from Zhejiang, leaving many works that have been shining in the annals of Chinese film history. Zhejiang’s film production industry originated in the 1950s and fl ourished in the 1980s.
“Building a nest to attract a phoenix”, “borrowing a boat to go to sea” and “independent innovation” are the three drivers that power the new round of development of Zhejiang fi lm industry. “Building a nest” refers to the formulation and implementation of a series of preferential policies by the Zhejiang fi lm administrators to promote fi lm production, create a good and relaxed production environment, and attract film and television companies from all over China to settle in the province, and allow them to fully embrace the bright prospects in Zhejiang.
Since 2012, the industrial agglomeration development pattern of film and television bases has taken shape and is gradually expanding, represented by Hengdian World Studios and Xiangshan Global Studios. In 2020, Xiangshan Global Studios built the fi rst LED studio in China, mainly serving sci-fi movies with high visual eff ect requirements. Th e virtual scenes it presents will replace the use of gr
een screens to a certain extent. Meanwhile, Zhejiang established the Xixi Cultural and Creative Industrial Park to host famous fi lm and television playwrights. Huace Film and Television, Great Wall Film and Television, Zhejiang Film and T elevision Group and Donghai Film Group have settled here.
“Borrowing a boat to go to sea” is another successful experience in the development of fi lm production. Zhejiang fi lm and television production companies are investing in high-quality fi lm projects, from Assembly to Personal Tailor (2013) and Havoc in Heaven (2014). During this process, Zhejiang is studying the successful films all over the world, learning and absorbing advanced skills. In addition, the emergence of international co-production films such as The 101st Marriage Proposal (2012) marked a new stage of Zhejiang fi lms.
Independent innovation is the ultimate goal of Zhejiang fi lmmakers, who gradually learn in their exploration and practice. Th e Zhejiang government has launched a cultural project to fund and support key film and television projects, set up the Zhejiang Film Phoenix Award for local fi lms in Zhejiang to cultivate leading film and television teams. In 2013, Donghai Film Group Co., Ltd., known as the “Zhejiang Film DreamWorks”, was established, marking the formation of a new pattern of film production, distribution, projection and the full development of the whole industry chain of new fi lm and television formats in Zhejiang as a sub-center of China’s fi lm and television industry. At the sam
e time, various film cultural activities were organized to create a strong atmosphere, so that the public can have access to fi lm production.
When film resources continue to pour into Zhejiang from all over China, a new concept has emerged: “Zhejiang-produced films” as the industrial dividend brought by the favorable film production environment. Zhejiang has produced a series of high-quality film products, which are very popular and profitable: Personal Tailor (2013); The Taking of Tiger Mountain (2014), Monster Hunt, Mr. Six (2015), Operation Mekong, The Lost Tomb (2016), Never Say Die, Youth, Wukong (2017), Sky Stream (2018), Hello Teacher, Dwelling in the Fuchun Mountains (2019); The Eight Hundred (2020), The Red Boat, Hi Mom, Hearing the Orioles among the Willow Waves (2021), Li Mao Playing as Prince, Too Cool to Kill, Moon Man, Mom! (2022) …
In the past decade, “Zhejiang-produced films” have been rich in themes and style. Th eir output and quality improved, and more and more fi lms entered the top ten of the annual box offi  ce, won awards in the Golden Rooster Award, Hundred Flowers Award, Huabiao Award, the National “Five Ones” Project Award, and awards at many international film festivals. In addition to
『
浙』十年特别视点  SPECIAL FEATURE: ZHEJIANG IN THE PAST DECADE
《我是路人甲》是尔冬升执导，由一非科班众演员主演的电影。该片讲
述的是奋斗在横店追寻影视梦的“横漂”一族的故事。dy , written and directed by Yee Tung-sing, tells the stories of  I Am Somebody rdworking extras at the Hengdian World Studios pursuing their fi  lmmaking dreams.
feature fi  lms, documentary fi  lms have also developed by leaps and
bounds. At the beginning of 2015, Zhejiang took a multi-pronged approach in terms of planning, orientation, cultivation of creative subjects, construction of broadcasting platforms, talent guarantee and fi  nancial support to boost Zhejiang-produced documentaries. Establishing Zhejiang Documentary Association, Zhejiang took the lead in building a platform for the documentary industry at the provincial level, establishing industry standards. In 2017, the fi  rst “West Lake International Documentary Festival” was opened at China Academy of Art. Held annually since then, this festival has prospered, and many documentaries have attracted movie-goers, such as  Ladder to Paradise  (2015), I Repair Cultural Relics
in the Forbidden City  (2016), Mama  (2017), Is a Hundred Years Long  (2018), The Arms of Seven Men  (2019), and Days and Nights in Wuhan  (2020).
Opera films in Zhejiang have also developed steadily. Zhejiang’s drama resources are plentiful, with famous masterpieces coming out one after another, and there is a solid foundation for their dissemination. Over the years, a large number of well-known and widely disseminated classic drama fi  lms have appeared, such as
Liang Shanbo and Zhu Yingtai (1954), Fifteen Strings of Copper Coins  (1956), Monkey King Beats the White Bone Spirit Th  ree Times  (1960), Five Women’s Birthday Celebration (1984), among
others. In recent years, those working in the Zhejiang opera fi  lm industry have been quietly cultivating this fertile soil, writing and making popular fi  lms such as  Love Detective  (2017), He Wenxiu  (2019), Leased Wife (2019), Tang Wan and Lu You  (2019), Li
Huiniang  (2020), and Monkey King vs. Red Boy (2021).
Chinese animation fi  lms have been regarded as “the world’s first-class level, forming a unique Chinese artistic style”, and they began to show their strength to the world. For example, masterpiece
s such as  Kunta  (2013), Monkey King : Hero Is Back (2015), Have a Nice Day  (2017), Master Ji Gong the Dragon
Conqueror  (2021) and others have been produced in Zhejiang, to
international acclaim. Th  us Zhejiang enjoys a leading position in the Chinese animation industry.
Zhejiang’s film creation has gradually formed its unique pattern and style, which is the advantage of Zhejiang. A batch of “new mainstream films” with more inclusive and industrialized attributes are leading the creative trend, breaking the traditional three-pronged situation of the main theme fi  lms, commercial fi  lms and art fi  lms. It shows that the development of our fi  lm industry has entered the correct market path, with more abundant types injecting innovative power into the genre and aesthetics of the fi  lm
industry. In recent years, the province’s art and literary fi  lms have been catching up, not only winning awards at various fi  lm festivals, but also embarking on the road of overseas expansion. Films of “Zhejiang style” are ready to emerge. Dwelling in the Fuchun
Mountains , Beyond the Skies  and  Hearing the Orioles among the Willow Waves  display the regional customs of the Jiangnan  (south
of the Yangtze River) area and inherit the “poetic fi  lm” tradition.
As of 2021, there were nearly 4,000 registered film and television companies in Zhejiang, and the number of employees in film and television bases such as Hengdian and Xiangshan is increasing. Th  e total number of theaters in Zhejiang has reached 820, with a total of 5,716 screens, and a box office of 3.574 billion yuan ($509.23 million). The prosperity of film creation and production in Zhejiang has greatly promoted the prosperity of fi  lm education. In Zhejiang University, China Academy of Art, Communication University of Zhejiang, the majors in all aspects of the fi  lm and television creation and production industry chain (including art historical research, fi  lm criticism) are complete, and a new generation of fi  lmmakers are growing.

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