The Current Situation and Problems of Chinese University Student Film Festival


Government assistance

In the process of holding the University Student Film Festival, the government plays the role of promoter. The government’s strong support and careful care is one of the key reasons for the long-term development of film energy saving. The government takes advantage of the opportunity of the University Student Film Festival to realize the transformation of its administrative functions and actively pave a convenient way for the cultural construction of colleges and universities. The affirmation and support from the government’s cultural departments have played a vital role in the start-up, financing, promotion and cooperation of the Jiangnan Film Festival for College Students. The Propaganda Department of the government should increase the media input and report the activities of the Jiangnan Film Festival in an all-round and timely manner, which can effectively enlarge the social benefits of the festival, effectively publicize the concept of the festival activities, and enable the festival to settle in Colleges and universities faster and better.


Breaking administrative barriers and opening intercollegiate exchanges

In addition to the support of the government, the hosting of the film festival for college students needs the support of the main body of the activity – universities. According to the College Student Film Festival I contacted, there are some obstacles in the coordination of activities among colleges and universities. To hold the Jiangnan Film Festival for College Students, we must solve the problem of coordination and break through the obstacles of information synchronization in the co-sponsored schools. Colleges and universities should maintain consistency in the schedule of activities, media publicity and social financing. At the same time, they should help each other in the selection and evaluation of films, unify the evaluation process and rules, and work together to create a film festival forcollege students.

Capital and equipment support

Every college student has a dream in his heart. He is eager to have his own movies. However, the reality restricts the development of college students’ movies. Many college students with film enthusiasm will face the shortage of equipment, funds and technology. The prosperity of those films and the development of College Students’ film festivals must solve the problems faced by college students in film making from the mechanism. The introduction of social funds to participate in the shooting of movies, the use of the most popular micro-film marketing means to cooperate with enterprises, without affecting film shooting to achieve a win-win situation. Colleges and universities should establish a convenient mechanism to open and manage shooting equipment without affecting teaching, improve the equipment lending system, and let idle equipment play its greatest role.

Talent support program

Movies from university students are becoming more and more popular, but they can not become the mainstream of the industry and can not be recognized by colleges and universities for quite a long time. The reason is that a large part of the limitations of the film itself. College student movies are mostly students because of their directors, writers, actors, post-producers and so on. They are slightly immature in the whole film processing. Therefore, training a large number of film related talents is one of the core tasks of College Students’ movies.

The key to cultivating film talents lies in straightening out the relationship between universities and students, respecting, supporting and encouraging the development of film talents, formulating and implementing policies to support film talents, and ensuring the initiative of innovation and development of film talents systematically. College teachers should encourage students to shoot after class, guide and participate in shooting practice, improve students’ film shooting skills and level, and cultivate students’ long-term film hobbies.



Widening the channels for promoting original works

There are many excellent works in thosemovies, but few of them are well-known. Some films with good reputation are not recognized by the market. In conclusion, the author believes that the work of the introduction channel is too narrow caused by the embarrassing situation, a lot of film production after completion, do not know where to send, to whom, in the course of the film took a lot of detours can not achieve the desired results. We should build the original film exhibition platform for college students from the national and social levels, so that more excellent works can enter the society and be recognized by the public.


Base on campus brand

University Student Film Festival must stick to its own characteristics in the process of its own development – based on the campus, connecting the community. Film festivals should play the role of intermediary between universities and society, based on the campus, mobilize the enthusiasm of college students to participate in, and promote the campus film and television to the community. Connecting the society means introducing mature film-making concepts and techniques into the campus to improve the quality of films.

Possibility of game: localization of African films

Today, with the rapid development of cultural globalization and transnational capital, the world’s political economy has been integrated into an integrated flow, homogeneous imagination of the space system, national culture, especially the third world culture in the irresistible trend of the times how to highlight the local culture, how to re-establish their cultural identity, is a Urgent problems. For African filmmakers, since the corridors at Western festivals face a lot of criticism, and there is a suspicion of confrontation in identity, is it possible to open up a road to the future at home?

nollywood-sign.jpgAfrican filmmakers are sore to learn, and in their long practice they have pioneered a model to circumvent the festival, Nollywood: it seldom shows at the festival, but it has created a huge film culture industry within Africa. Facing the difficult reality of fewer African cinemas and almost no box office for African films, reducing production costs and avoiding cinema or festival channels, making video films has become a new strategic choice for African films. Since the 1990s, Nollywood has risen in Nigeria and become the world’s second largest film producer after Bollywood, India, with an annual output of more than 2,000 films. A 2002 New York Times article pioneered what Hollywood and Bollywood called the use of Nollywood. However, unlike Hollywood and Bollywood, Nollywood is so simple and fast that the threshold is so low that anyone who can afford to rent a video recording device can be a creator. The production model is also very special. The production cycle of a movie is only about 7-20 days, and the cost of shooting is usually between $20,000 and $40,000. Nigerian’s Film Industry: Nollywood Looks To Expand Globally, published in October 2014 in the Executive Briefings on Trade, said: Nollywood produces 50 films a week, solves the employment problem of more than a million people, becomes Nigeria’s second largest labor market after agriculture, and contributes to the Nigerian economy. The average income is $600 million.

Africa Renewal, an American magazine published in May 2013, reported that Africa’s 5.2% GDP growth in 2012 waslargely attributed to the African film industry, especially the Nigerian film industry represented by Norwood. Nollywood has not only created the continent’s most prosperous film industry, but also boosted tourism in and around the country. In Cameroon, known as “Little Africa,” people do not care about the technical quality of their films in the face of the fact that their own films are just starting. They are happy to accept their own films and the stories around them. As a result, “today, video films become Garner’s most popular mass entertainment.” Subsequently, through market tests, the video film gradually developed into an industry, and spread to Cameroon, Ghana, Kenya, Tanzania, Zimbabwe and other countries, as a phenomenon-level film movement sweeping the land of Africa.


In the documentary Welcome to Nollywood, 2007, which explores the current state of Nollywood, the camera language repeatedly emphasizes that, due to financial constraints, basically all Nollywood films are not shot in professional studios, but are shot directly on the streets of people, a little more elaborate. To places like dwellings, hotels and offices. Obviously, it is impossible for the works produced in this state to enter the festival’s vision. Some critics, as well as African directors with artistic pursuits, even accuse Nollywood of “having industry without aesthetics”, advocating that it would be better to leave the production without reducing the standard. But for African films facing identity crisis, Norwood’s successful model circumvents the notion that some African filmmakers are eager for instant success and instant profits, hoping to become famous with the help of several Western film festivals. In fact, it’s hard to get long-term financial support from film awards alone, and it’s hard to go far without focusing on output. Because film is an art, but also an industry, although can not give up the pursuit of art because of investment, but definitely should not be the capital of opinion and art opposition, only when the number of films enough to lay the pyramid foundation, and ultimately can lift the spire of African film art, so that African films can be heard in the world film. The stage is not coerced by foreigners.

What is love,wild love


“Beautifully unsettling, poetic and dazzling, simultaneously dark and radiant, Ash is Purest White will surely count as one of Jia Zhang-ke’s greatest films.” – Le Monde

Ash Is Purest White,this film is about how Liao Fan’s Bin Ge handles the debt disputes between his brothers, the silent spiritual battle between the three men, the description of more than a hundred words in short, which makes me itch, just want him to make the film quickly. After watching the movie, he finally got the hang of it. The opening scene was as he had described it before. It was like a cold, calm iceberg under the water, huge and ferocious. It was like an unknown undercurrent underneath the calm sea, with the possibility of an unimaginable unknown.

But although I knew the beginning, I did not guess the end. More than a year ago, the director also talked about the end of his conceptual film, Zhao Tao plays the ingenuity, how to sit alone in the living room on the supposed lively New Year’s Eve, a person to drink “all over the world”, the camera shook up the living room hanging a plaque, the four characters on the book “fate”. It was a very dramatic and stylistic ending, but what I saw in the film was quite different – the director used a more creative and meaningful form of expression in the actual shooting, completely replacing the original idea of a beautiful ending, but also endowed the film with advancement. One step ahead of the new brilliance of the inherent vision and style of my previous works.


This end is also a twists and turns from the Jianghu road to the children’s affection. I thought the movie was about rivers and lakes, but it was about children; I thought the story was about the magic of money, but it was about the power of love.

Bin Ge, a young man in a small town in Shanxi Province, was laid off from a machine repair factory. He took a group of brothers to drive a taxi company, open a dance hall, open a mahjong hall, make police friends and eat a social meal. The daughter of the leader before the mining area is a woman who is a big brother. She likes dancing and longing for family. She said, I am not a man on rivers and lakes. But in a sudden street fight, in order to protect his dying brother Bin, he happened to shoot, the original scenery of life completely changed, a woman who only wanted to stay away from the river, adhere to love, accept fate, into the real world beyond her imagination. Time passes, time changes, thieves, cheaters, adulterers, sex wolves, loyalty, betrayal, meet, farewell… All of this was performed one by one on the stage of her later life. This once pure and kind little woman, who had spent more than ten years in a violent love affair, was really a quiet, resolute and courageous child, and finally returned to the starting point of her love.


An Elephant Sitting Still

“Over four extraordinary hours, Hu Bo paints a compelling portrait of contemporary China in this FIPRESCI Prize-winning debut that shows the remarkable promise of a young director who took his own life before completing what’s also his final feature.”


The society we live in is a whole, and we can not live without it. But we are all individuals who are estranged from each other in essence. And what this film shows is that we, the alienated but inextricably linked individuals, are collectively occupied.

1 Form and content:

The hand-held follow-up fromthe back to the front and back, the lenses that focus only on the subject for a long time and skip other people’s pictures, the scene scheduling that is accomplished by simultaneously changing the orientation of the human-machine, the reality of time elapsed with continuous images, and so on, are Tarkovsky’s immersion lenses in conjunction with Tal Bella’s. In the same day’s timeline, it tells the four protagonists’ respective situations and encounters, and uses clever clues to connect them. This is a multi-line narrative which tests the script’s ability and complex structure. There are also special environmental sound high-frequency recording in literary and artistic films and after-shake music with images to render emotional effects. All these sensory receptions are something that I, and probably most people, can easily feel while watching a movie.


2 Here and elsewhere:

The juvenile who was the only one who died in the world was the first to decide to leave. The destination is a circus propaganda poster saying that elephants can sit on the ground and sit in Manchuria. He wanted to leave the gray city and start a new life in the colorful Manchuria he had imagined.

In another space, the vice principal sitting next to the girl punctures the unrealistic daydream: “Every day is almost the same, slightly different, you don’t have to be confused about it, everyone will understand it in a while… It is not good to be alive, but it will always be painful. From birth, it has been painful. I thought it would be nice to change places. We will go to new places and continue to suffer. ” The new place is the same as the old world.

The young man thinks he can do anything, but he knows he has no talent. Even so, he has to leave.

Finally, the homeless girl and the old man who were also defeated by the “whole” met the young man at Shijiazhuang Railway Station. Before leaving, the old man said, “you can go anywhere, you can go. When we arrive, we will find that nothing is different. You look over there and think it must be better than here, but you can’t go, you can’t solve the problem here without going. But after that, he still got on the train to Manchuria.

The problems here can not be solved. The shuttle bus did not know how long it was, and the youth in the darkness seemed to be able to smell the elephant. It must be a dream. Because life is simply unable toget out of Shijiazhuang and Manchuria.

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3 Anger and talent:

Some people say that Hubo had been plagued by depression for a long time, perhaps because of poverty, frustration, or all sorts of uncompromising persistence. He said that compared with movies, novels are more autonomous and free. I haven’t read his novels, but I can feel the anger in his book from the text.

It’s all the rage of his society.

On the one hand, an artist with a free nature, and on the other, a director with a contract, we don’t know what he has experienced along the way from powerlessness to hopelessness in the face of viciousness around him (at least in his eyes) and anxiety within himself. Reality is not imaginary, although he can let the characters in the script in silence, but he can only die in silence. From a professional point of view, he may not be in line with the rules, but if I stand in his position, I sympathize with him. Because I can understand the uncompromising obsession.

His talent is absolutely beyond doubt. Whether it is form or content, this is a complete and colorful movie. Although you can always see the shadow of other directors, but as the first feature film, shooting time and other issues are limited under the premise of shooting this is not easy. He is sensitive and docile, docile and cruel, all of which are doomed to pessimism in his mind. But he is sober and unique. Obviously, the elephant sitting on the ground is another kind. He did it.

Unfortunately, there is no more wave in the world.