一米阳光
香港影协：参加“金马奖”务须三思_我的网站
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二 | 据台湾《联合报》14日报道，香港影业协会在13日给全体成员发送的信中称，近年“金马奖”颁奖典礼中，多名台湾导演或艺人一再提出与电影艺术不相关的言论，将政治与电影混为一谈，玷污电影的独立艺术性，将整个活动拖进充斥争议的胡同中，“如果会员希望参与（金马奖），务须三思，以免殃及池鱼，卷入无谓的纠纷中，得不偿失”。香港影业协会成立于1986年，是香港电影界保障和促进电影从业人员权益及福利的团体，同时也是中国国家版权局委任为指定香港电影作品的版权认证及发证机构。协会宗旨之一是“与世界各地的影业协会联络，以促进、推广及保障电影业的发展”，因此过去香港电影界参加台湾“金马奖”，会由影业协会组成香港影业代表团参与。
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Yang Ni, a villager from Yuanqiao in Dengfeng, Central China's Henan Province, still remembers the nervous excitement of facing a slowly advancing camera for the first time. Now, she shifts with ease between roles, from a maidservant trailing a heroine in a historical drama to a famine-struck villager before the People's Republic of China was set up in 1949.
Experiencing so many lives within various screenplays, Yang said that short dramas have transformed not only her life, but also the ancient village she calls home.
Yuanqiao, a small village with a history that traces back over 600 years, has welcomed more than 70 short drama crews in recent years. The creators have captured every angle of the village's traditional courtyards, winding alleys, and gently rising cooking smoke. Locals have grown used to exchanging their daily farm clothes for costumes between busy seasons, giving life to lively townsfolk on vertical screens.
Yuanqiao village's revitalization is not just a story told through the camera lens. Si Jianbin, responsible for short drama coordination in the village, told the Global Times that the changes brought by short drama filming are visible in many ways.
With traditional buildings serving as natural film sets, once-abandoned houses, crumbling village walls, and old opera stages have been repaired and preserved. This has renewed villagers' sense of cultural stewardship. The arrival of drama crews has also broadened job opportunities for local youth; more young people are now choosing to stay or return home, breathing new life into the village.
Si noted that challenges also persist. The swift rise of AI-generated dramas is reducing demand for real-life shoots, and the number of visiting productions in the village has started to drop. Still, Si remains confident, noting that the village's authentic architecture meets the growing demand for high-quality short dramas. He said that leveraging this unique match will secure a promising future for revitalizing rural areas through film.
Changed villages
"For years, I only saw our old houses as broken-down obstacles; after filming, I realized every brick and tile is our cultural heritage," Yang said. Having played a background actor in numerous dramas - from period pieces to modern stories - she and her neighbors now see their ancient city walls, opera stages, temples, and homes through new eyes.
Some once-vacant houses have found new purpose as meticulously arranged sets, bearing witness to love stories or family feasts. One courtyard, frequently appearing in short dramas, is adorned with red lanterns and paper cuttings to express joy. Villagers redecorate it for shoots, blending cheerful ambiance with authentic period feel.
Today, Yuanqiao's residents - all from toddlers to seniors, even family donkeys and dogs - have become "stars" on camera. People farm during the busy season, then slip into costumes to perform, seamlessly shifting between fields and film sets.
Younger villagers have found new skills and work too. Si noted that more than half of local youth have acted as extras, with some job-seeking college graduates now learning editing and computer skills from the drama teams, opening the door to steady work in short film production.
The economic benefits for the village are clear. Si pointed out that village income grew from 4 million yuan ($593,330) in 2024 to over 5 million in 2025, a 20 percent of increase thanks to short drama filming. Most villagers have seen their annual incomes rise by around 5,000 yuan as a result.
Traditional crafts once on the verge of disappearing - such as paper-cutting and basket-weaving - are also reviving. Villager An Qing'e, known for her hand-woven flower baskets, was discovered by a filming crew and soon found online customers for her props.
Tourists, too, are seeing the village in a new light, as site visiting becomes an immersive experience. They are no longer fleeting passersby, but participants in the living stories of the ancient village.
The sets created for filming repurpose historical spaces, allowing visitors to step into the joys and sorrows of different eras.
This phenomenon is not limited to Yuanqiao village. The unique needs of rural and historical short dramas perfectly match the spaces and cultural resources of China's villages. Other places, such as Hujiaxi in Yuanling county, Central China's Hunan Province, and Nanhu in Jinyun county, East China's Zhejiang Province, are attracting drama crews and experimenting with a rural revitalization approach combining short drama with agricultural and cultural tourism.
Seeking the irreplaceable
Still, the path for rural short dramas is being tested by the realities of the market.
The rise of AI-generated content is quickly diverting orders away from real-location shoots. Si said that after peaking at 35 crews in 2025, the number shrank to one or two per month in Yuanqiao village by 2026.
Even so, Si sees a hopeful future. While AI short dramas win on low-cost virtual settings, China continues to encourage the creation of well-crafted real-life dramas through supportive policies.
There is a lasting appeal in the atmosphere, sense of history, and human vitality that only real villages can provide - qualities virtual images cannot match. As audiences and studios increasingly seek authenticity and quality sets, villages like Yuanqiao have lasting room to grow.
Zhang Peng, a cultural researcher and associate professor at Nanjing Normal University, told the Global Times that the rise of AI-generated short dramas is reshaping the industry. However, this does not mean villages will lose out on the benefits brought by filming. On the contrary, when the bubble fades, truly valuable villages may be in even greater demand.
Their core competitiveness is not just cheaper venues, Zhang explained, but their unique local culture, authentic lifestyle, and the fusion of online and offline tourism experiences.
"To keep these benefits, villages should not compete with AI on cost and efficiency," Zhang noted. "Instead, they must redefine their own irreplaceability in the production chain."
Ding Daoshi, a veteran internet analyst, offers a word of caution: short dramas change fast, and their impact rarely lasts as long as movies or TV series. For villages, the key to sustainable development is leaning on their unique heritage and not just short dramas.
By finding their own irreplaceable assets and combining them with the energy of film, they can secure their future for the long haul.
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四 | 目前，香港影业协会会员约有170个，现任理事长为狄龙国际电影有限公司的洪祖星，永远名誉会长为向华强等10人。
五 | “金马”二字取自金门、马祖的头一个字组合而成，符合全球主要影展一般以“金字招牌”为号召的潮流。
六 | 最早报名该奖项的主要是台湾和香港电影，2008年后大陆和新加坡、马来西亚的影片也开始积极参加，使“金马奖”一度成为华人电影圈的一项重要评奖，与大陆“金鸡奖”和香港“金像奖”并称为“华语电影三大奖”，拉近了华语电影爱好者的距离。
七 | 不过近年来，在民进党当局破坏两岸关系的背景下，“金马奖”也日趋政治化，不仅自砸招牌，更是引发大陆以及其他地区华语电影人的警惕。在2018年第55届“金马奖”颁奖典礼上，台湾导演傅榆因一部反映“太阳花学运”的纪录片获奖，她声称“希望我们的国家可以被当成一个真正独立的个体来看待，是我身为一个台湾人最大的愿望”。同一天，前一届的“金马奖”影帝、大陆演员涂们上台为“最佳女主角”颁奖时，表示“特别荣幸再次来到中国台湾金马奖颁奖”及“我感到了两岸一家亲”，当时被媒体视为反击傅榆的“台独”论调。典礼原先安排导演李安与演员巩俐一同颁发“最佳剧情片”，但巩俐也拒绝上台。2019年8月7日，国家电影局宣布暂停电影和人员参加当年“金马奖”，《一秒钟》《地久天长》《南方车站的聚会》以及《兰心大剧院》都未报名当届“金马奖”。
八 | 不幸成为蔡当局的独角戏 在“金马奖”越来越政治化的趋势下，虽然仍有少数港片参与，但数量大大减少。
九 | 同样是在2019年，原本已完成报名手续的香港电影《扫毒2天地对决》《使徒行者2：谍影行动》《追龙II：贼王》及动画《继园台七号》确定放弃第56届“金马奖”。香港英皇电影当年表示，已将重心放在同期举行的厦门第28届金鸡百花电影节，旗下的艺人都不出席“金马奖”颁奖典礼。香港影业协会曾于2019年8月15日发信称：“近来国家电影局发布头条文章，暂停大陆影片和人员参加2019年第56届台北金马影展；自此陆续有香港电影公司表态退出本届金马奖，本会特此通知影业同行。”早在当年6月27日，台北金马影展执行委员会公布第56届“金马奖”由香港导演杜琪峰担任评审团主席，同年9月19日杜琪峰向主办单位请辞。2021年，一部所谓反映香港“修例风波”的纪录片获得当年第58届“金马奖”的“最佳纪录片”奖，反映出这一电影奖项的立场。有岛内舆论称，去年“金马奖”，李安卸下执委会主席重任，虽然当年台湾片和台湾从业人员成了“最大赢家”（获奖作品中仅两部为香港电影，一部为澳大利亚电影，其余均为台湾电影），然而残酷的事实是台湾电影从来没有像现在那么衰弱。2019年之后，大陆和香港几乎无人参加，“金马奖”不幸成为蔡英文当局的独角戏。不少赞助商也退出——2019年10月，意大利汽车品牌玛莎拉蒂在官方微博发表声明称，台湾代理商不代表该品牌的官方立场，已要求经销商终止与台北金马影展执行委员会合作，并主张“尊重中国的领土完整”。英国服装品牌欧圣也在官方微博宣布中止与台北金马影展执行委员会的合作，随即关闭联名T恤的销售网页，并表示支持一个中国原则。
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