Shanghai International Film Festival (SIFF) has established in 1993, which is the first one has been certificated by International Federation of Film Producers (FIAPF) in China. And it is the only one of A category international film festival in China. As the SIFF came into China, it has become the symbol of Asia film culture, it severed as a platform of communication of Chinese film, and also changed the globalization and marketing of Chinese film industry. The highest award of SIFF is Golden Goblet Awards, and Oliver Stone, Assayas, Oshima, and some others famous filmmakers have served as judges of SIFF.
During the film festival, some good quality films can be awarded, on the other side, the award-winning film will have better publish and promote. Especially in the international city Shanghai, SIFF has been a trading platform. However, the film festival and film trading market are different. Film festival needs to select some distinctive films in order to show its uniqueness, but the film trading market needs all kinds of films rather than individuality. On the other side, the film festival needs to combine the cultural function and business function. Actually, SIFF does not have a real sense of trading market due to Chinese film policy. All the foreign films are imported by China Film Group, and it has monopolized the market. From this, SIFF cannot establish a trading market in the short term.
It can suggest a lack of authority, compared with the Cannes film festival and other film festivals. For the SIFF, it is better to improve specialist appraisal institutions. it is important to recognized authority and impartiality by media and insiders, then receive the higher reputation in the world. Moreover, SIFF needs to get more support of government policy and public resource. Because the government gives not enough support on developing film industry, especially on film’s censorship. Different culture backgrounds make different current situations, we cannot directly copy successful patterns of others.
SIFF has a close connection with Chinese film culture, and also reflects the comprehensive strength of this city, even this country. It should become a better way of attracting the world spotlight and promote the economic development through culture power.
Yu, S 2011, ‘Festival Focus: Shanghai: China in Their Hands’, Screen International, pp. 22.