중국 춘절당(春節檔) 문화 현상에 대한 연구 : 2021년의 춘절당을 중심으로

Abstract

Centering on the cultural phenomenon of the Chinese Spring Festival stalls and the film market during the New Year season, this paper analyzes and studies the cultural phenomenon during the Spring Festival in 2021. With the help of the study of the cultural phenomenon of the Spring Festival period in 2021, this paper figures out the specific reasons for the success of the Spring Festival box office in 2021 and the relationship between Chinese movie development and the Spring Festival stalls by summarizing and organizing the historical process and opportunities of the formation of this period. The year 2021 is unusual for Chinese cinema. The Chinese Spring Festival market in 2020 was hit hard by Covid-19. Many films scheduled for release during the Spring Festival period had to remove from cinemas because of the sudden outbreak of the epidemic. As a result, the box office for the 2020 Chinese New Year season was almost zero. However, in 2021, the Spring Festival saw a shocking change, with box office revenues exceeding those of all previous Spring Festival releases. Not only that, but it also broke several historical records for the Chinese Spring Festival movie market. As a result, the 2021 Spring Festival ended with box office revenue of nearly eight billion yuan, making it a hot topic for the Chinese film industry. As an irreplaceable film release period in the Chinese film market and film culture, the Chinese New Year season plays an essential role in modern Chinese film culture and the film market. The Spring Festival is a cultural tradition with Chinese characteristics slowly forming through the combination of Chinese cinema and traditional festivals as time passes by and gradually showing distinctive ‘new folklore’ characteristics, which is especially evident in the Spring Festival in 2021. Therefore, a study of the cultural phenomenon of the Chinese Spring Festival not only provides a better understanding of the Chinese film market and the development of film culture but reveals the traditional cultural meaning inherent in the Chinese film market today.