Summary of the Core Content
Feng Xiaogang’s new film has failed to attract audiences at the box office. It’s not that he can no longer make movies well, but rather the strategies that used to bring him success—such as understanding social dynamics, relying on a network of acquaintances, and sharing emotional connections—no longer work with the new generation of viewers. The humor that made Feng Xiaogang’s films popular has become perceived as “offensive,” and his supposed “worldly wisdom” now comes off as condescending. Audiences no longer buy tickets just because of his name; they question whether the film is worth their money. This phenomenon illustrates a fundamental truth: everyone or brand that once relied on past achievements must shift from relying on their past success to demonstrating their current value, as those past successes can no longer serve as a guarantee for future success.
Detailed Analysis
1. Why Was Feng Xiaogang Able to Easily Generate Box Office Success in the Past?
Feng Xiaogang was unique because he understood the subtle aspects of Chinese culture that are not easily expressed. His New Year’s films, which explored topics like family dinners, workplace dynamics, and marriage, resonated with audiences. Characters like Ge You’s witty remarks provided a way for viewers to express their own experiences of workplace stress, family pressure, and awkward social interactions. His name itself was a guarantee of box office success, as he accurately captured the shared experiences of the older generation.
2. Why Doesn’t It Work Any More Today?
The reason isn’t that audiences have become less emotional, but rather the audience has changed. The context in which these films were appreciated has shifted:
- The humor from his earlier works is now seen as cheesy by younger viewers (for example, making jokes about gender or workplace relationships no longer appeals to modern tastes).
- His supposed wisdom is perceived as condescending.
- The concept of “social connections” has evolved; what used to be seen as helpful support is now viewed as manipulative (e.g., someone might ask, “Why do I have to buy a ticket?”).
The new generation values personal choices and resents being influenced by social obligations. They want to see something they genuinely enjoy, not just something that is expected of them.
3. What Does This Situation Reveal About Old Business Practices?
Han Hong’s comment about “giving Feng Xiaogang some face” (supporting his film) exposes the outdated promotional strategies of the past: relying on acquaintances, celebrity endorsements, and media influence to promote films. In the past, buying a ticket was also seen as part of a social obligation. However, today’s audiences demand clarity and value for their money, time, and attention.
4. What Has Feng Xiaogang Really Lost?
He hasn’t lost his audience or recognition; he has lost the ability to automatically attract them. In the past, his films were guaranteed success. Now, he must prove that each new film is worth watching. This marks a shift for filmmakers: they are no longer part of a privileged group; they must earn their audience’s respect just like everyone else.
5. What Does This Situation Teach Us?
This incident serves as a reminder to all those who rely on past achievements:
- Past successes, whether as filmmakers or in other fields (such as business founders or influencers), are no longer enough.
- True long-term success comes from providing value with each new product or service.
- The danger is underestimating the importance of continuously demonstrating current relevance and value.
Conclusion
Feng Xiaogang’s lack of box office success is a reflection of a broader trend: as audiences shift from valuing social connections to focusing on the value of products and services, those who rely on past achievements must adapt. It doesn’t matter who you were in the past; what matters is what you can offer now.