Insiders say Chinese filmmakers still focus on making money with beautiful people rather than using quality actors

Young, good-looking starlets with big social-media followings are cashing in on China's burgeoning movie scene, while actors less interested in celebrity are losing out, according to industry insiders.

However, filmmakers say the situation is only temporary and will gradually change as producers shift focus from purely commercial value to quality of performances, as seen in the British film industry.

"Commercialization creates new venues, audiences and opportunities. Now, the priority for China's industry should be to foster the market," says Li Xia, a Chinese film producer.

Speaking in late June at the China-Britain Film Festival in London, where she presented new kung fu movie The Master, Li says she is confident the market will move away from its reliance on beauty as Chinese audiences gain a taste for better films, fueled by the growing influence of high-quality foreign productions.

Once the market matures, she says, viewers will have a different understanding of what good work looks like, and in turn will value actors skills rather than physical appearance.

China's movie market is second only to the United States. Box-office receipts hit a record $6.8 billion last year, up almost 50 percent on 2014, according to the State Administration of Press, Publication, Radio, Film and Television.

Isabel Davis, head of international at the British Film Institute, agrees with Li.

She argues that Chinese cinemagoers are primarily young, so it is only natural that demographic will flock to see young, good-looking stars. However, she adds, as the Chinese industry develops and finds more segmented audiences, mature actors will again resonate with viewers.

The difference in the British film industry is in what independent cinema is able to offer, Davis says. This usually produces films "where the ideas are more developed and nuanced, with actors who may or may not be well-known or have longstanding careers, but are right for the role, not necessarily people who have millions of fans around the world".

Britain has a longstanding reputation worldwide for making creative films, which comes from the fact more work is done at the development stage, she says. She also adds that the reason independent films appeal to British audiences, in particular those aged 45 or over, is because they often feature "wonderful performers", who tend to look for good, quality scripts to work with.

"These are the actors who have had careers over decades who work in theater, film, television so they are people who will make decisions about which roles to take based on merit," Davis says.

For a project to attract someone like Maggie Smith, the celebrated film and television actress, for example, it could take years for the writer, producer and director to make sure the script is perfect, she says.

Nick Rosen, an award-winning filmmaker from London, explains that the British industry has two key ways to ensure a steady supply of high-quality, intellectual and artistic films.

"One is the existence of dedicated distribution companies that specialize in this sector," he says. "The other is the social life, especially in London, that brings together the wealthy elite who can take advantage of the large tax breaks and the artistic community that needs their money."

He believes there will always be a market for noncommercial films, as people will often try - and possibly gain a taste for - more artistic fare after growing tired of blockbusters.

wangmingjie@mail.chinadailyuk.com