The rise of the new emerging film festival in China

As we know, the Academy Awards are the most influential and time-honored film awards in the world. Together with the three major international film festivals in Europe, including the Cannes film festival in France, the Venice film festival in Italy and the Berlin film festival in Germany, four of them are the most important film awards in the world film industry. However, with the development of the film industry and the soaring production of films, several famous film festivals have been difficult to meet the requirements, which has led to the emergence of various emerging film festivals.


These new emerging film festival are aimed at the particular range of special film festival and the activities of the movie, I will take some examples of Chinese film festivals, such as Beijing International Film Festival, Shanghai International Film Festival, Silk Road Film Festival, Golden Rooster and Flowers The awards, the FIRST Youth Film Festival, and various events organized by online media, etc. These festivals and events in China provide a platform for many films to promote. Like the famous film festivals in Cannes, Berlin, Tokyo, and Venice, the Shanghai Film Festival belongs to the International Class A Film Festival and has a competition unit. The top award is the “Jin Jue Award” and the Asian New Talent Prize are set outside the main competition unit to discover movie newcomers from all over Asia. Some emerging film festivals in China have different preferences. For example, The Silk Road Film Festival places more emphasis on the cultural exchange than film promotion. The China-Australia Film Festival focuses on recommending outstanding films abroad. The Beijing international film festival is likely to focus more on the commercial market. Pingyao International Film Festival pays more attention to discovering movie newcomers.

Most of these film festivals and events are still in the growth stage, therefore, it is necessary to improve the level of activities with high-quality, high-quality films. However, it is precisely because these film festivals and activities have just begun to develop, the professionalism has not yet been recognized. Hence, many high-quality, high-quality movies are not willing to participate, because they do not need the awards of these non-mainstream festivals to prove themselves.


A key criterion for the quality of a film festival is whether it is objective and fair, and it is not affected by or influenced by factors outside the film. The more objective and fair, the more excellent works can be attracted. Additionally, the participation of good works can further enhance the popularity and gold content of the film festival. Of course, it is impossible for a film festival to be free of factors other than film. Therefore, this is the difference between traditional well-known film festivals and new emerging film festivals. Because the famous film festival has accumulated many years of experience and has wide recognition, they don’t have to worry about the shortage of audiences or have not good works. Therefore, such a film festival is relatively less constrained by external factors. However, the new emerging film festival can’t rely on itself to attract high-quality masterpieces to participate actively. They need the influence of movies and actors to enhance the popularity of the festival. Once it affected by external factors, it is difficult to guarantee the objective and fairness of the film awards. If the awards are not objective and fair, and they are not recognized by the masses, it will be difficult to get professional recognition.



①Rüling, Charles-Clemens, and Jesper Strandgaard Pedersen. “Film festival research from an organizational studies perspective.” Scandinavian Journal of Management 26.3 (2010): 318-323.

②Chan, Felicia. “The international film festival and the making of a national cinema.” Screen 52.2 (2011): 253-260.

③Xiao, Zhiwei. Encyclopedia of Chinese film. Routledge, 2002.

④Ran, Ma. “Celebrating the international, disremembering Shanghai: The curious case of the Shanghai International Film Festival.” Culture Unbound: Journal of Current Cultural Research 4.1 (2011): 147-168.

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