电影中，存在着两种戏剧模式，我们直观地称它们为艺术片与商业片。题材内核不一样，就划分为了两个受众人群，形成了一条鄙视链。喜欢艺术片的看不起喜欢商业片的，而喜欢商业片的还把“庸俗”的名字坐实了。这两个对立面潦草的分出了什么是“雅”，什么是“俗”。
In movies, there are two theatrical modes, which we intuitively call art films and commercial films. The core themes are different, so they are divided into two audience groups, forming a chain of contempt. Those who like art films look down on those who like commercial films, and those who like commercial films even confirm the name 'vulgar'. These two opposing sides hastily distinguish what is "elegant" and what is "vulgar".
艺术片和商业片是什么？为什么会有如此之分？其实，并没有所谓的商业和艺术的界限。在任何一部电影中，这两种属性都是同时存在的。但是确实存在着两种形态，但并不是“艺术与商业”的对立。举一个最简单的例子：《复仇者联盟》，丰富的对手戏镜头、人物内核独立于故事主线、特效过瘾；再看《海上钢琴师》，是时代还是命运？冗长的长镜头，压抑的镜头美感。第一部，我们都能共同吸收镜头带给我们的荷尔蒙；第二部，总觉得导演想传递给我们什么，需要反复的剖析。这两部都是商业电影和艺术电影的代表。但不能说第二部没有商业价值，也不能说第一部就没有艺术性，其实它们都同时具备着艺术价值和商业价值。只不过第一部更多考虑了大众审美，所以在创作时会大比例的考虑商业价值和市场的因素。第二部是基于故事内容以艺术性作为最高要求来传达电影创作者的情绪，探究哲理挖掘人性，其拍摄手法不拘一格。所以，在之前提到的“受众人群”也并不是标签和种类。
What are art films and commercial films? Why is there such a distinction? In fact, there is no such thing as a boundary between business and art. In any movie, these two attributes exist simultaneously. But there are indeed two forms, but they are not the opposition between "art and commerce". Take the simplest example: The Avengers, with rich opposing scenes, character cores independent of the main storyline, and satisfying special effects; Looking at 'The Piano Master at Sea' again, is it an era or a destiny? Long and lengthy shots, suppressed camera aesthetics. In the first part, we can all absorb the hormones brought by the camera together; In the second part, I always feel that what the director wants to convey to us requires repeated analysis. Both of these are representatives of commercial and art films. But it cannot be said that the second part has no commercial value, nor can it be said that the first part has no artistic value. In fact, they both have both artistic and commercial value. However, the first installment focused more on public aesthetics, so a large proportion of commercial value and market factors were considered during the creation process. The second part is based on the story content and aims to convey the emotions of the film creator with artistic quality as the highest requirement, exploring philosophy and exploring human nature. Its filming techniques are not limited to any particular style. So, the "target audience" mentioned earlier is not just labels and categories.
商业化电影就比艺术性电影“俗”吗？我认为商业化电影，强烈到可以颠覆人类认知的作者论才是真正的内核。那为什么中国电影商业化泛滥，很少有人愿意指导艺术性的电影呢？一是人们的欣赏能力，习惯解构一切深邃的思想，对于艺术性电影不买账；二是市场，一部电影的票房最后能分给制片方的到底有多少？首先，电影也需要纳税，支持电影事业专项基金，通常要交出总票房的10%左右，剩下的分账票房才是参与电影的人来分的。院线和电影院要拿总票房的57%，扣除一些历史遗留问题所拿的3%（中影数字提留），再将影片的宣发部门所拿的票房扣除，最后剩下的才是制片方的钱，大约有不到30%。也就是说，一部普通的商业化电影票房至少要是投资的三倍才能做到不赔本，更何况艺术性电影。
Is commercial film more "vulgar" than artistic films? I believe that the true essence of commercial films lies in the author theory that is so strong that it can subvert human cognition. Why is the commercialization of Chinese films rampant, and few people are willing to direct artistic films? One is people's appreciation ability, accustomed to deconstructing all profound thoughts, and not buying into artistic films; The second is the market. How much of a movie's box office can ultimately be distributed to the producers? Firstly, movies also need to pay taxes to support the special fund for the film industry. Usually, about 10% of the total box office must be contributed, and the remaining portion of the box office revenue is shared by those who participate in the movie. Cinemas and cinemas need to take 57% of the total box office, deduct 3% from some historical legacy issues (retained by China Film Digital), and then deduct the box office taken by the film's publicity department. Finally, the remaining money is the producer's money, which is less than 30%. That is to say, an ordinary commercial film needs to invest at least three times the box office to achieve no loss, let alone an artistic film.
凡事总有例外，商业和艺术的完美结合呢？希望彼时《霸王别姬》（1997年陈凯歌导演的电影）的奇迹还能在中国影坛上重演。
There are always exceptions to everything, what about the perfect combination of business and art? I hope the miracle of 'Farewell My Concubine' (a 1997 film directed by Chen Kaige) can be replicated in the Chinese film industry.