According to data from the Beacon Professional Edition, as of 06:00 on January 28, the total box office of the Spring Festival in 2023 exceeded 6.8 billion, ranking second in the box office of the Spring Festival in Chinese film history.
Seven films including "The Wandering Earth 2" and "Man Jianghong" were released on the first day of the Lunar New Year.
In addition to their contribution, they are a sign for the film industry and audiences: in the past three years, the situation of theaters opening and closing, and films being fixed and withdrawn has basically become history, and a normal film market is returning.
Similarly, various offline cultural activities affected by the epidemic have resumed one after another.
At the end of last year, the National Center for the Performing Arts announced the resumption of offline performances, and presented two New Year's concerts on December 31, 2022 and January 1 this year.
In terms of pop music, live house performances, which are the easiest to resume, have become the first choice for many artists and young audiences to return to offline. According to rough statistics, as of the end of last year, there were more than 700 live house performances in the first four months of 2023.
As for museums, art galleries, libraries and other public places carrying various cultural functions, they have basically opened normally.
The full recovery of the offline cultural market is definitely a welcome thing.
Looking back on the past three years, the literary and art industry, which has always relied on on-site and offline forms, has undergone great changes.
On the one hand, it is one of the areas most affected by the epidemic; on the other hand, many performances and exhibitions have been moved online, and ways for people to enjoy cultural life without leaving home have also emerged in the past three years.
As early as the Spring Festival holiday in 2020, the State Administration of Cultural Heritage has urgently expanded a number of online exhibition content on its official website to fill the vacancies of the cancellation of many cultural exhibitions.
By this year, the "cloud exhibitions" of museums around the world have been quite amazing. Not only are there online guides and 360° display of exhibits, but museums use computer technology to allow visitors to enjoy the exterior of the museum in virtual mode and enter the exhibition hall. , can be described as another immersive experience.
Online performances are also a product of the field of literature and art during the epidemic.
In 2022, many artists will hold online concerts on short video platforms, and the number of views will be calculated in units of "100 million".
Although the venue has moved online, some performances still spend a lot of money to create movie-like visual effects.
At the beginning, of course, it was out of helplessness, but when it seemed that the previously widely recognized concept of "going to the scene for performances and seeing the real thing for exhibitions" was broken, people gradually felt that offline and online actually have their own strengths.
Needless to say, the advantages of offline cultural life are that the whole process is a real and unique experience from the start to the exhibition halls and concert halls to the end of viewing the exhibitions and performances.
However, when exhibitions and concerts are brought online, time and distance constraints are first broken, and no matter where people are, they can obtain spiritual satisfaction in virtual exhibition halls and videos.
In the second half of last year, online concerts became hot spots of public opinion several times.
Different from being immersed in the artist's singing, stage, and sound effects in a huge gymnasium, when you hear the familiar melody sounding across the screen with thousands of people, what people feel more is their own emotions, and "so many people same as me" feeling.
With the resumption of offline cultural activities, the investment of various resources, the time and energy of relevant practitioners, and the attention of the audience will inevitably shift accordingly. But obviously, people already know that online and offline are not the only choice between one.
For example, the concert performance of the National Center for the Performing Arts on the last day of last year was broadcast live simultaneously on multiple online platforms.
Of course, in the future when social life fully returns to normal, if it is just a simple live broadcast or copying offline things to online, the effect will be compromised, and the traffic will inevitably decrease.
The so-called crisis hides opportunities. After preliminary exploration, if the art industry can use new models and new technologies to realize online what cannot be done offline, meet the needs of users, and make the cultural lifestyles that people can choose richer and more convenient. , online cultural activities may become a truly independent new stage.