Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 601, page 599: Final Judgment of the Medal Dispute – Cutting Off the Braid

Wang Sheng's schedule was packed for the two days following the closing of the Berlin Film Festival.

On the morning of February 20, he met with Ulrich Felsberg of Constantin Film as scheduled and finalized the distribution agreement for "Seoul Farewell" in the German-speaking region: a minimum guarantee of 2 million euros, plus 18% of the net revenue share. The film will be released simultaneously in Germany, Austria, and Switzerland in September of that year, with no fewer than 120 screens.

In the afternoon, during a visit to the Babelsberg Film Studio, Wang Sheng showed great interest in this oldest film studio in Europe.

The factory's operations director proactively proposed establishing a "technology exchange and talent exchange" mechanism with Shengying Media, especially in the fields of virtual production and digital intermediate technology.

“Babelsburg is willing to receive 10 Chinese technicians each year for a three-month training program, with all expenses covered by the German Federal Cultural Foundation,” the director said sincerely. “We believe that only when the technical level of the entire industry is improved can international cooperation be deepened.”

Wang Sheng immediately instructed the accompanying Sheng Ying technical director to coordinate the details with the other party.

That evening, the Berlin Film Festival organizing committee hosted a small dinner at the Adlon Kempinski Hotel, inviting this year's Golden Bear winner to exchange ideas with prominent figures in the German cultural world.

Klaus Lehmann, the German Federal Commissioner for Culture and Media, attended the event in person. This nearly 60-year-old politician is in charge of the budget and project approval for Germany's cultural exchanges with other countries.

“Mr. Wang, your film reminds me of Fassbinder from twenty years ago,” Lyman said, raising his glass. “That profound analysis of family, society, and identity is the core spirit of the German New Cinema movement. I never expected to see it continue in the East.”

Wang Sheng responded tactfully: "Film art has no borders, and human dilemmas are universal."

Halfway through the banquet, Lyman's assistant presented Wang Sheng with a dark blue velvet box.

Open it, and inside is an exquisite silver medal with a design of the Brandenburg Gate surrounded by film reels.

“This is the ‘Special Contribution Medal for Sino-German Cultural Exchange,’ jointly awarded by the Federal Ministry of Culture and the German Film Association,” Lehmann said solemnly. “It is awarded to only one or two people each year who have made outstanding contributions to Sino-German cultural exchange. You are the thirteenth recipient and the youngest.”

Wang Sheng accepted the medal.

His entourage explained to him the significance of the award—previous recipients included heavyweight figures in the cultural world such as conductor Yu Long and sinologist Gu Bin.

"The awarding ceremony will be held during the 'Chinese Era' cultural festival in Berlin this October, and we hope you can attend," Lehmann added.

Wang Sheng nodded in agreement.

On February 21, Wang Sheng flew to Paris to finalize the distribution details for the French-speaking region with Pathé and also visited the headquarters of the European Film Promotion Organization.

EFP Executive Director Marina Durant presented him with the "EFP Honorary Member" certificate—the first time the organization has bestowed this honor upon an Asian filmmaker.

“EFP’s mission is to promote European films to the world,” Durant said. “But your success tells us that true cultural exchange is a two-way street. We hope to establish a ‘European Cinema Focus’ section at the Shanghai SAIFF Film Festival in the future, so that Chinese audiences can see more diverse European works.”

Wang Sheng immediately promised that the second China-US International Film Festival would have a dedicated European screening section and would invite EFP as a partner.

In just two days, Wang Sheng expanded his network of contacts in the European film industry.

When he boarded his return flight, his assistant's suitcase contained three cooperation agreements, two medals of honor, and a thick directory of European publishers.

……

On the afternoon of February 22, the flight landed at Beijing Capital International Airport.

When Wang Sheng walked out of the covered bridge, reporters from more than 30 media outlets were crowding at the arrival gate, their cameras and microphones pointed at him.

"Director Wang! Look this way!"

How does it feel to win the Golden Bear?

Will Li Bingbing's salary increase after winning the award? Will this be related to the Star Trail Project promoted by Sheng Ying Group?

The flashes of light were crackling.

Airport security personnel had to step in to maintain order.

Wang Sheng stopped and gave a brief response: "The Golden Bear Award is an honor for the entire team. Chinese films are going global, and this is just the beginning. Thank you everyone."

Escorted by bodyguards, he quickly passed through the crowd and got into the waiting Mercedes.

In the car, Li Tingting, who came to pick me up from the airport, handed me a stack of newspapers: "Since yesterday, all mainstream media outlets have been reporting on the Berlin award. CCTV's prime-time program devoted 1 minute and 15 seconds to the news, and the People's Daily published a commentary on its front page."

Wang Sheng opened the newspaper.

On February 22nd, the People's Daily featured a striking headline on its front page, in the lower right corner: "Seoul Farewell Wins Berlin Award, A New Starting Point for Chinese Cinema's Centennial." The article stated:
"...On the occasion of the 100th anniversary of the birth of Chinese cinema, 'Seoul Farewell' won the Golden Bear, the highest award at the Berlin Film Festival, which has special historical significance."

This marks a new stage in Chinese cinema's development over the past century, moving beyond simple learning and imitation to independent innovation and international expression.

The film's success proves that Chinese filmmakers are fully capable of creating outstanding works that resonate with the world…

The Guangming Daily's culture section published a full-page analysis titled "From 'Red Sorghum' to 'Seoul Farewell': The Path of Internationalization for Chinese Cinema."

The article compares Zhang Yimou's 1988 Golden Bear Award with Wang Sheng's 2005 Golden Bear Award, arguing that the former "opened up Western perspectives through spectacular Eastern narratives," while the latter "achieved cross-cultural resonance through universal humanistic concern," representing the maturity of Chinese films' internationalization strategy.

The China Youth Daily's headline was even more direct: "Wang Sheng: The International Answer Sheet of a New Generation of Chinese Filmmakers".

The report details Wang Sheng's creative trajectory from "30 Days" to "Seoul Farewell," emphasizing his unique path of "balancing commerce and art, and taking into account both local and international aspects."

The online discussions were even more heated.

On Sina.com's "100 Years of Chinese Cinema" special page, Wang Sheng's photo is displayed alongside film history figures such as Ruan Lingyu, Zhao Dan, and Xie Jin.

One netizen commented: "In the 100-year history of film, can Wang Sheng be considered a living legend?"

But there are also dissenting voices.

On a newly opened film forum, an anonymous user posted: "The Golden Bear Award is certainly prestigious, but 'Seoul Farewell' is, after all, a Sino-Korean co-production, with Korean actors having significant roles. Is this truly a pure honor for Chinese cinema?"

Immediately, someone in the comments retorted: "The Last Emperor, the Oscar-winning film, was made in English in Italy. Is it not a glory for Italian cinema that some people question it? In the era of globalization of film, co-productions are the norm."

The key is who holds the power of discourse—the producer, director, and core creative team of "Seoul Farewell" are all Chinese; this is the success of Chinese cinema!

The controversy itself has already demonstrated the impact of this matter.

Li Tingting reported in the car: "The Film Bureau has sent a notice, hoping that you will attend the preparatory symposium for the 'Centennial Commemorative Activities of Chinese Cinema' next week. The leaders of the State Administration of Radio, Film and Television specifically requested that you speak."

"Understood." Wang Sheng closed his eyes. "Go home and rest first. There's a company meeting at nine o'clock tomorrow morning."

……

Friday, January 2th.

In the top-floor office of the Jingxin Building, sunlight streams through the floor-to-ceiling windows onto the large mahogany desk.

Three thick project application documents were laid out in front of Wang Sheng, namely the list of key projects for 2005 submitted by Shengying Media's film division and Enlight Media's television drama division.

The film section submitted 12 entries...

Eighteen TV drama projects were submitted, nine of which were historical dramas...

Wang Sheng's gaze lingered on the section for period dramas for a long time.

He picked up a red pen and drew a big X on the seven braided drama projects.

Then he pressed the internal phone: "Tingting, come in for a moment."

Li Tingting quickly entered the office.

"Sit down." Wang Sheng pushed the project list over. "Cut all these period dramas submitted by the TV drama department." "All of them?"

Li Tingting picked up the list and glanced at the names of the seven Qing Dynasty dramas.

Power Game: The Grand Council

(Court intrigue and institutional epic)
Key highlights: Focusing on the Grand Council (Junji Chu) established by Emperor Yongzheng and continuing until the fall of the Qing Dynasty, this book presents the power struggles within the empire's highest decision-making center, the dramatic events behind the issuance of decrees, and how the system evolved from efficient to rigid, all from the perspective of several generations of Grand Councilors. It is not merely a biography of emperors, but a history of the rise and fall of systems.

2. *The Red-Capped Merchant: Sheng Xuanhuai*

(Late Qing Dynasty Commercial Wars: Saving the Nation Through Industry)
Key highlights: Centered on Sheng Xuanhuai, a prominent official-merchant figure in the late Qing Dynasty, the story showcases his journey in establishing the China Merchants Steam Navigation Company, the Telegraph Bureau, and the Bank of China, among other industries. The narrative intertwines business battles, political maneuvering, diplomatic negotiations, and the choices he made in the face of Western industrial civilization, presenting him as "the commercial backbone of the empire."

3. Records of the Grand Canal Transport

(Historical mystery and epic of people's lives)
Key highlights: Set against the backdrop of the "Grain Transport" system, which was vital to the empire's survival, the story unfolds through the mysterious disappearance of a grain transport ship, revealing a vast network encompassing canal boatmen, transport guilds, tax collectors, and the imperial court. It depicts the struggles of ordinary people and the empire's lifeline crisis against the backdrop of natural disasters, man-made calamities, corruption, and technological innovations (such as maritime transport as a substitute for traditional shipping).

4. "The Eight Banners Children"

(Family Epic: Cultural Change)
Key highlights: This story revolves around the century-long transformation of a middle-class Manchu family in Beijing (from the Qianlong era to the Xinhai Revolution), showcasing the glory, complacency, awakening, and transformation under the "ironclad" social status quo through the fates of several generations. It meticulously depicts the loss of equestrian and archery traditions, the fusion of Manchu and Han cultures, and how a privileged class sought a new identity amidst dramatic historical changes.

5. *West Mountain in Clear Snow: A Chronicle of the Rise and Fall of the Three Hills and Five Gardens*

(Garden Aesthetics: A Miniature Empire)
Key highlights: Using the construction, prosperity, calamity and reconstruction of royal gardens such as the Old Summer Palace and the Summer Palace as a thread, the book skillfully weaves together garden art, imperial strategies, Sino-Western cultural exchanges (such as Giuseppe Castiglione), as well as major historical events such as the Anglo-French invasion of China and Empress Dowager Cixi's reconstruction, to observe the nation through the gardens and see the big picture in the small details.

6. *The Imperial Observatory: Under the Stars of the East and West*

(Scientific Collision, Civilizational Dialogue)
Key highlights: Set against the backdrop of the Qing Dynasty's Imperial Astronomical Bureau (the national astronomical institution), the story showcases the collaboration, debates, and power struggles among Chinese and Western astronomers (such as missionaries Johann Adam Schall von Bell and Ferdinand Verbiest, and local scholars) in calendar revision and celestial observation. The narrative weaves together real events such as the "Calendar Controversy," exploring the intertwining of science, faith, and politics.

7. Nalan's Heartfelt Thoughts

(An Emotional Epic: The Spirit of the Literati)
Key highlights: Centered on Nalan Xingde, the foremost lyricist of the Qing Dynasty, and his family (the complex relationship between the Yehenara and Aisin Gioro clans), the film not only showcases his poignant emotional world and unparalleled talent, but also deeply integrates his personal fate with the political purges and cultural integration of the early Kangxi era, portraying the melancholy and insight of a sensitive soul beneath the veil of prosperity.

Li Tingting pondered for a moment: "This might cause some unrest."

“I know,” Wang Sheng interrupted her, “but starting this year, Shengying Film Studio will be adjusting its creative direction.”

He stood up and walked to the window: "Think about it, what's on TV now? Kangxi, Yongzheng, Qianlong, Ji Xiaolan, Heshen, Liu Luoguo... it's all Qing Dynasty dramas. Aren't the audience tired of it yet?"

"But the market feedback..."

“The market can be guided.” Wang Sheng turned around. “If we keep feeding the audience Qing Dynasty dramas, that’s all they can eat. But China has five thousand years of history. Besides the Qing Dynasty, there are the prosperous Han and Tang Dynasties, the glorious Song and Ming Dynasties, the Spring and Autumn and Warring States Periods, the Three Kingdoms and Wei-Jin Periods… So many wonderful eras and figures, why not make them?”

Li Tingting seemed to be deep in thought.

Wang Sheng continued, “Draft a notice and send it to the historical film project team and the historical drama project team: First, shift the focus of creation, and focus on exploring historical themes other than the Qing Dynasty. Second, establish a ‘Historical Theme Creation Guidance Group’ and hire experts from the Institute of History of the Chinese Academy of Social Sciences and the Department of History of Peking University as consultants to ensure the historical authenticity of the scripts. Third, rotate all the reviewers responsible for reviewing historical scripts—those who stamp and approve scripts as soon as they see a Qing Dynasty drama should be transferred to other positions.”

He paused for a moment: "The notice should clearly state the reason: in order to enrich the diversity of themes in domestic historical dramas, avoid audience fatigue, and enhance the cultural connotation and historical value of the works. This is a strategic adjustment, not targeted at any particular project."

"I understand." Li Tingting quickly took notes. "Then what about the traditional Chinese opera with queues that has already been approved and is in preparation?"

"The company will bear the initial losses and pay the project team three months' salary as compensation. We will tell them that if they are willing to switch to creating works from other historical periods, the company will give them priority support."

"Okay." Li Tingting made a note of it. "What about the movies?"

“I’ve approved nine film projects,” Wang Sheng said, ticking off a few on the list. “The other three are on hold for now and will be discussed again next year.”

Li Tingting glanced at the list: "The budget for 'Crazy Stone' is only 500 million yuan, and the director, Ning Hao, is a newcomer..."

"That's precisely why we should support it," Wang Sheng said. "Shengying can't just make blockbusters; it also needs to give newcomers opportunities. I'm personally overseeing this project."

Li Tingting nodded and left the office with the annotated list.

……

That afternoon, news that Shengying Media was going to "cut off period dramas" somehow leaked out.

First, an anonymous post appeared on a film and television forum: "Shocking news! Shengying Film Studio has issued an internal notice that all Qing Dynasty drama projects have been suspended!"

The number of comments instantly exceeded one hundred:

"real or fake?"

“My classmate works in the TV drama department of Enlight Media, and he said that an emergency meeting was indeed held this afternoon.”

"Wang Sheng just won the Golden Bear Award and is already making such a big move?"

"It should have been cut long ago! The screen is full of long braids, it's so annoying!"

As evening approached, reporters from several entertainment media outlets began receiving tips.

A reporter from Entertainment News called Shengying's public relations department directly for verification and received the reply: "The company is undergoing normal project restructuring. Please pay attention to official announcements for details."

This non-denial response is seen by the media as tacit admission.

At 7 p.m., Beijing Entertainment Express published a short message on its homepage: "Shengying Media adjusts its creative direction, and several Qing Dynasty drama projects may be shelved."

Although the article used uncertain words such as "fear," "possibly," and "it is said," the list of projects listed was unusually accurate—"Kangxi's Private Visits 5," "Yongzheng Dynasty: The Sequel," "The Eloquent Ji Xiaolan 3," "The Secret History of Xiaozhuang 2"... these were the seven works that Wang Sheng had cut that afternoon.

The industry was instantly in an uproar.

……

In the president's office of Huayi Brothers, Wang Zhonglei was talking to his brother Wang Zhongjun: "Wang Sheng is getting more and more arrogant. A while ago, he blacklisted Wang Jiawei and Lu Chuan, and now that he's just won a Golden Bear Award, he's starting to pontificate again? What's wrong with period dramas? As long as they make money, they're good shows!"

But then he thought, "Shengying doesn't make films about Qing Dynasty characters, which gives us a market opportunity. I'll go right now..."

Wang Zhongjun pondered for a moment, then interrupted, "Let's not film anymore. Wang Sheng probably heard something. Let's not be the first to act. Let's wait and see."

"alright."

"..."

……

Aside from dissenting voices.

There were also voices of support.

Zheng Dongtian, a professor in the Department of Literature at Beijing Film Academy, said in a telephone interview: "I have long called for the diversification of historical drama themes. Chinese history is so rich, why only focus on the two or three hundred years of the Qing Dynasty? Shengying's adjustment is a manifestation of cultural responsibility."

Mao Peiqi, a researcher at the Institute of History of the Chinese Academy of Social Sciences, was even more direct: "The excessive number of Qing Dynasty dramas has distorted historical understanding. Many viewers think that ancient China was all about queues, mandarin jackets, and kneeling, completely unaware of the openness of the Han and Tang dynasties and the elegance of the Song and Ming dynasties. This is a failure of historical education. I support Wang Sheng's decision."

The online discussion is divided into two camps.

One side argues: "The market decides everything. Audiences love watching period dramas with Qing Dynasty hairstyles, so why shouldn't we make them?"

Another side countered: "It's precisely because of your kind of thinking that television is full of Qing Dynasty dramas! It's time for a change!"

……

(End of this chapter)