The Mission of Film Festival

The film festival has been faithful to its original beliefs: to explore films to promote film development, to support the world’s film industry and to become the seventh international event. However, the red carpet has gradually become the most concerned part of the film festival. What does the “red carpet” represent today? The red carpet is an aspect of the film festival and is also the most attractive part of the event. For the organizers, this is the first attempt to greet the world’s biggest film artists and up-and-coming newcomers with equal respect. It also takes the opportunity to pay tribute to the artist’s creativity, because this is also the prestige of the festival. The festival is very concerned about the exploration of new people and the support for creation. But I don’t know when the red carpet of the film festival became a must for the Chinese stars. At every international film festival, Chinese stars are keen on taking the red carpet. Although there is no work, they have to go up and show themselves, especially represented by the red carpet at the Cannes International Film Festival. The Cannes Film Festival itself has a unique advantage, the schedule is appropriate, the attention is high, the stars are gathered, and secondly, Cannes is the best platform for a star to upgrade their rank. The Cannes Film Festival is an explosion of fame and attention, a stage that instantly raises awareness and exposure. Although some of them have no works, they still insist on going to the red carpet in order to increase their popularity. However, for most viewers, their focus is still on the work of movie stars.

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For the audience, the significance of the festival is not just to watch the star’s red carpet show. “Movies” is the only theme throughout the festival. The festival is faithful to its history, but it also pays attention to the introduction of new things and originality. For decades, it has worked hard to preserve the love of movies and discover emerging talent. The festival receives professionals and journalists from around the world to assist in the birth and distribution of the film. Every film festival has a number of film projects born to share experiences and discover the new culture.

With the development of film and society, the significance of the film festival is no longer limited to the artistic reward of pure film evaluation. The film screening, forum summit, market cooperation, and red carpet show have gradually become the unit sections of major film festivals. It adds new business benefits and social significance to the festival. The world’s outstanding directors, screenwriters, actors, and producers gathered together to provide a platform for the development of the industry. It not only promoted the exchange of film cultures in various countries and regions, but also opened up market transactions in film production. The festival enhances the communication between the film and the audience in terms of cultural benefits, and promotes the communication and connection between the film’s main creative, filmmakers, film distributors and broadcasters in terms of business benefits. Producers can explore the types of topics that may be developed, directly reach the project intentions with the director, further increase the volume of film projects, and prosper the development of the film industry.

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The Understanding of SIFF

The Shanghai International Film Festival is one of the first 15 international A-class film festivals in the world to be recognized by the International Film Producers Association. The purpose of the festival is to promote mutual understanding and friendship between the film industry in various countries and regions, and to promote the prosperity of the world’s film art. The Shanghai Film Festival has become an important landscape of Shanghai’s cultural life. The film festival presents and encourages the creation of diverse art. Since its establishment, it has rapidly improved its professional structure and services, and its social influence. It has been hailed as “the fastest growing international film festival in the world”. The opening ceremony of the Shanghai International Film Festival is not only a gathering of famous filmmakers from all over the world, but also the latest appearance of the Chinese film industry. It has become the best window to showcase the power of Chinese film in the year. More and more filmmakers have taken the Shanghai Film Festival as an important film promotion opportunity.

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The existence of the Shanghai Film Festival, first of all, highlights the value and significance of cultural exchanges. Through the selection and evaluation of multi-national films, the Shanghai Film Festival has brought more countries’ films into China, opening a window in front of the Chinese audience with films of artistic and humanistic features. It is a close contact between Chinese audiences and exotic films of various types, ethnic characteristics and regional customs. Compared with the introduction of foreign films, the film festival pays more attention to domestic films, which is the focus and characteristics of the Shanghai Film Festival. In the current Chinese film market is not strong enough, the international influence of Chinese film is still very weak, this kind of promotion is necessary. From this perspective, the Shanghai Film Festival has indeed played an irreplaceable role in promoting the development of Chinese film and promoting the exchange of film culture at home and abroad. Of course, this bias towards domestically produced films may also be partly responsible for the lack of clarity in the positioning of the Shanghai Film Festival and the lack of internationalism.

With the gradual prosperity of the Chinese film industry and the increasing international awareness and contact with Chinese films, the international positioning and domestic role of the Shanghai Film Festival will become clearer. In addition to the international exchange of film culture and the significance and value of cooperation, the Shanghai Film Festival also bears the responsibility of demonstrating the soft power of Chinese culture. As an important resource and component of the national cultural soft power, the film is the most powerful cross-cultural medium, mainly fulfilling the diplomatic function in the cultural field, and is the most powerful means to obtain universal recognition. The significance of the festival is not limited to this. From the details, it also has the role of fostering new people, promoting cooperation and communication, and enhancing the cultural character and artistic quality of the film. Since its inception, the Shanghai Film Festival has been continually exploring, improving and strengthening its cultural significance and value.

Reference:

Wee, B. 2012, “Highlights from the Shanghai International Film Festival 2012”, Kinema, , no. 38, pp. 107-110.

Impressions after MIFF

The Melbourne International Film Festival is Australia’s first international film festival and one of the most influential international film festivals in the Southern Hemisphere. The main purpose of the festival is to understand the film situation in countries around the world, to promote the close cooperation between Australian filmmakers and foreign filmmakers, and to contribute to the development of the country’s film industry. Every year, the MIFF screens a wide range of films to celebrate the brilliant achievements of the film and to recognize filmmakers who have made artistic contributions to various fields in the film industry. The festival features approximately 357 films in 18 days, as well as presenting the latest trends in the Australian and international film industry, presenting a wide range of films, including feature films, short films, documentaries, cartoons, experimental films and multimedia films.

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Movies from around the world, these films are often fresh and controversial. The purpose of the festival is to promote the art of film and to improve the artistic level of the film. It is also to reward valuable and creative films, promote exchanges and cooperation between filmmakers, and provide convenient development for the development of film trade. Usually, various awards are set up to reward those who have achieved. In fact, the Melbourne Film Festival is my first time to participate in the film festival. At first, I thought that the most interesting part of the festival was the red carpet, but when I really participated in the festival, I changed my mind. Different types of films are shown at film festivals, such as Australian films, feminist films, experimental films, musicals, crime films, cartoons, short films, children’s films, epic films, and documentaries. This is a collision of cultures in different regions, a place for filmmakers to communicate, and an opportunity to show the film culture to the public.

During the MIFF, I watched the documentary UNDERMINED: TALES FROM THE KIMBERLEY. It is the real investigation of the world-famous Kimberley development by director Nicholas Wrathall. There, large-scale mining and livestock development projects not only threaten the original environment, but also threaten the sacred connection of more than 200 indigenous communities and their people to the country. With the support of the MIFF Premiere Fund, the film by Wrathall, although apparently Australian, tells a true story about the problems faced by Aboriginal people in their hometown struggles with development. The conflict between real environmental problems and economic development is inevitable, so this documentary is thought-provoking.

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The documentary is a form of TV art that uses real life as its creative material, a real person as a performance object, and an artistic processing of it. It can reveal the true nature and trigger people to think. Through this documentary, I learned about the lifestyles of Aboriginal people and their culture, and I realized the predicament they faced. This is the harvest that the film festival brought me, and I have learned about different cultures and ideas in Australia.

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References:

Zyrd, M. 2002, “DOCUMENTING THE DOCUMENTARY: CLOSE READINGS OF DOCUMENTARY FILM AND VIDEO/INTRODUCTION TO DOCUMENTARY”, Canadian Journal of Film Studies (ARCHIVE), vol. 11, no. 2, pp. 109-114.

Stevens, K. 2016, “Enthusiastic amateurs: Australia”s film societies and the birth of audience-driven film festivals in post-war Melbourne”, New Review of Film and Television Studies, vol. 14, no. 1, pp. 22-39.

 

The inheritance and opportunity of the film festival culture

The internationally renowned film festival is a major event in the global film industry. Different film festivals are distinctive, such as the commercial style of the Academy Award, the art genre of the Cannes Film Festival, the inclusiveness of the Toronto Film Festival, and the novelty of the Tokyo Film Festival. In the context of the era of globalization, the International Film Festival plays a role in absorbing diversity and communication. The festival features a bridge that interacts with world film art ideas, creative ideas, and resources. The festival’s culture is as wonderful as a movie, not only the mainstream film festivals such as Cannes, Berlin, and Venice, but also different types of theme film festivals. For example, Sundance Film Festival, Avant-garde Film Festival, Art Film Festival dedicated to independent film; Reunion Film Festival, Silent Film Festival dedicated to revival of film; Jewish Film Festival, Women’s Film Festival focus on identity distinction; and special type film festival: International Love Film Festival, International Human Rights Documentary Film Festival, International Short Film Festival, Travel Film Festival, Fans Film Festival.

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The film industry has developed rapidly, and various films have decorated the film festival in a colorful way. The film festival is in full swing and counteracts the film culture, making it reflect the rational prosperity. The film festival can more actively define the film culture from the cultivation of the audience because the film at the festival is not bound by the box office. In addition to film selection, the film festival can also shape the aesthetics of film by funding the film. For example, the Adelaide Film Festival provides investment in Australian films and puts the world premiere of some films at the festival. The World Film Fund at the Berlin Film Festival annually supports filmmakers in Africa, Latin America, and other regions through budgets.

During the film festival, fresh elements can be found. For example, the “New Film International Forum Unit” founded by the Berlin Film Festival focuses on the new trends and new voices of the world’s movies and support those directors who have just started their careers in film. The Tribeca Film Festival sponsored a number of cross-media projects to recognize creators who tell stories based on web or multimedia platforms. The Sundance Film Festival and the Amsterdam International Documentary Film Festival also selectively submit digital art and interactive media works. The mission of the festival is further extended to reshape the film culture.

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All aspects of the festival, including planning, publicity, platooning, and screening, are all part of the film culture, affecting the film industry and popular culture. For example, the Shanghai International Film Festival focuses on the shaping of film culture and the cultivation of audience groups. The Beijing Film Festival contains the charm of Chinese traditional culture. In the large-scale activities of the film festival, traditional Chinese cultural elements such as Chinese martial arts, Beijing opera, calligraphy and folk art were embodied. The festival not only focuses on the output of Chinese culture but also balances Western culture. The film festival will integrate Chinese and Western cultures, strengthen the sense of identity of Chinese culture, and embrace the differences between different cultures.

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Reference:

Nelson, R.A., Donihue, M.R., Waldman, D.M. & Wheaton, C. 2001, “What’s an Oscar worth?”, Economic inquiry, vol. 39, no. 1, pp. 1-16.

Logette, L. 2015, “CANNES AVANT CANNES, PRÉLUDE FRANÇAIS”, Jeune Cinéma,, pp. 5-13.

Cecilia Antakly, d.M. 2003, “The 6th Shanghai International Film Festival”, Framework, vol. 44, no. 1, pp. 142-144.