Chinese films in International film festival

Similar to the “Nobel Complex” and “Guinness Complex” of the Chinese people, it seems that in the minds of film practitioners, as well as in the hearts of the general public, there is a strong “film plot complex”, especially the Oscar and the three major European film festivals. The history of any film is usually brilliant. It is usually related to the movie festival.
In the early years of China’s film industry, the influence of the art film, local art film workers with the help of this light and short film, using puppet, paper-cut, ink animation and other traditional means to transmit Chinese culture in the world. But at that time, Chinese films were basically isolated from the mainstream film festivals around the world.
Until the 1980s, a group of films with Chinese oriental characteristics began to win awards at the International Film Festival. The most iconic film is undoubtedly “Red Sorghum”, which was directed by Zhang Yimou and won the Golden Bear at the 38th Berlin International Film Festival, one of the world’s three largest film festivals.
The stage of the International Film Festival has made the world rediscover Chinese movies and exported the national images with Oriental characteristics. In just a few years, Chinese movies have been attacked and won successively, which makes Chinese movies surprise in the western mainstream film festivals and matches the rising image of China as a whole. Even though the imagination of Chinese history and reality is not without misreading elements, but at least concentrated on the artistic quality and creativity of Chinese movies. More importantly, the International Film Festival has enabled China’s most talented filmmakers, such as Jin Pao, Zhang Yimou and Chen Kaige, to gain considerable status in the international film industry and become a mainstay of the local film industry.
While Chinese films have achieved brilliant success in the International Film Festival awards, there have been doubts about their film style and cultural orientation. The most representative view is that China produces a large number of “folk films”, indulging in the ancient and backward imagination of China, creating a number of false folk customs, sold to the Western International Film Festival. Under the shell of human liberation and realistic criticism, it is actually the obedience to the Western-dominated cultural interest, which misleads the western world’s understanding of reality and contemporary China, and makes the Western audiences get a sense of imaginative satisfaction and superiority of cultural concern while watching such films.

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