China films need to get rid of the Oscar complex and start from four aspects

The formation of the market and the production of film content have different logics and different laws. The most taboo thing about the development of films is utilitarianism measured by the market.

Since Chinese-American cinematographer Huang Zongzhan won the Oscar for Best Black and White Photography in 1955 for his "Rose Tattoo", and in 1988,"The Last Emperor" won nine awards including Best Picture and Best Director at the 60th Academy Awards. In 2001, since Ang Lee's "Crouching Tiger, Hidden Dragon" won four Oscars including Best Foreign Language Film and Best Original Music, there has been a public opinion in the China film industry that "how far is China films from the Oscar."

It can be said that "Oscar" and China films are a long-standing and unique symbiotic relationship.

Before the founding of New China to 1977, the relationship between China's films and the world was very simple, because they rarely participated in international film activities, and foreign films rarely entered. To a certain extent, it can be said that China's national films are independent outside the world. It was not until entering a new era, when China gradually integrated into the world and movies went global that it slowly became a problem. China's films have only been abroad for more than 30 years, but foreign films, represented by Hollywood in the United States, have begun to enter the country in large numbers, occupying an important position in the domestic film market, not to mention in just a decade. In an era of "global village" where "the world is hot and cold", where should our films start so that we can win the recognition of Chinese people and go to the world? What correct attitude should we take regarding the "Oscar" complex in China films? In this game, how can we remain vigilant and prepare to respond to this invisible war from a national strategic perspective? Faced with increasingly fierce market competition at home and abroad, what market strategy should China films adopt to make progress in the wave of industrialization and even stand at the forefront of the trend? Try to explore these issues from the following aspects.

First, the development of China films must demonstrate cultural confidence by adhering to China characteristics.

From the audience's perspective, insisting on creating excellent works with China characteristics is a manifestation of cultural confidence. Only by being able to serve China audiences well, can China films become bigger and stronger, and can they better serve the overseas dissemination of China films. From a goal perspective, attacking the Oscars should not become the primary goal or ultimate goal of China films. To improve the level of China film creation, move towards a modern and open market economic system, promote the development of China film industry, and participate in global film market competition, China films need to get rid of the Oscar complex. Because, compared with the former, it is most important to make domestic films bigger and stronger.

During the more than 20 years from the 1980s to the beginning of this century, many excellent films with China characteristics have not only won praise from the vast audience in China, but also won more and more good world awards. This is a very powerful explanation and deserves our filmmakers to think about. If domestic film and television creation and dissemination focus more on or blindly focus on the "Oscars", it may blind the eyes and reverse the priorities.

Second, the world influence of China films is an important part of China's strategic cultural soft power. It is very important for China films to go global, participate in global competition, and improve the external communication of China culture and values, including China films.

As the "Belt and Road" strategic initiative has been recognized and participated by more and more countries, and in the torrent of the times of building a "community with a shared future for mankind", its core appeal is first to enhance the image of the country and the image of national culture. On the one hand, aligning with the world's outstanding films should be regarded as an important opportunity to enhance the world influence of China film and television and China culture. On the other hand, we must also pay attention to the impact of films on national cultural security. We must also take targeted measures to carefully guide and control the import of overseas films. It is necessary to formulate scientific policies for the development of the film industry and further give full play to the government's supervisory and management role; at the same time, it is also necessary to continue to strengthen the control of the introduction of overseas films to the Internet. In addition, further research on public opinion is necessary to formulate strategies and appropriate methods.

Third, the most important thing is to make China films themselves bigger and stronger.

Faced with increasingly fierce market competition at home and abroad, what market strategy China films adopt is the most important. In a sense, the Oscar is just a domestic award in the United States. Therefore, the quality of China's domestic blockbusters must be judged based on whether China people like to watch them and whether they can further consolidate and expand the domestic market share of domestic films. Being planted in China's local film market and facing competition from overseas introduced films, mainly Hollywood films, that is, based on China and achieving sustainable victory in its own "home" game is the current and future priority of China's films.

China films are made for China. They carry and embody local and China values. Seriously improving the level of domestic film creation is fundamental. In this basic direction, we need to see that China's film industry is still far from the forefront of the world. For many China films, it is imperative to boldly learn Hollywood's production and expression means, whether it is high level of industrial technology, special effects or story weaving. According to data, among the top 50 films in the global market in total box office revenue last year, only 2 were China films ("Mermaid" and "Journey to the West: Fighting the Bone"), and the remaining 48 films were all American films. To change and improve the quality of films, in addition to the rules of market production and industrial production operations, screenwriting and creative innovation are the most important.

The profit-seeking nature of the market certainly affects the importance attached to film creation (innovation) and the foundation of the script, but also makes the film develop in the direction of high-quality and high-quality, which has become a problem. The expansion of the market and the continuous improvement of audience viewing levels have put forward higher requirements for the quality and level of China films. The front line of the film is the playwrights. Director Fei Mu once said: "If the script is good, even if everything is bad, it will still be a good film." The artistic expression and realm of movies are endless. There are many ways to express a character or thing in the same way. Movies should explore new methods without "adhering to old stereotypes." "In modern times, modern China must think carefully about how to grasp the national style of China films." With the development of the times, China films need to incorporate the brilliance of the new era into their creations and shout.

Fourth, the China film market will remain the most popular huge market in the next few years. The globalization and worldliness of films have the value of coexistence of challenges and opportunities in the development process of China's film economy, culture, art, aesthetics, politics, etc.

On the basis of building cultural confidence and determining the starting point for supply-side reform and innovation based on the local market, we need to pay attention to changing the concepts and practices of paying too much attention to cross-cultural communication and the North American market, and strategically grasping the right to speak in world culture. Under the dual effects of economic globalization and the Internet, we will further guide the market-oriented orientation. In response to the new U.S. government's request to launch U.S. -China bilateral trade negotiations, China films can negotiate with it, strictly regulate the market, and improve relevant laws.

It should be noted that the formation of the market and the production of film content have different logics and different laws. The most taboo thing in the development of films is utilitarianism measured by the market, while rejecting singleness, cultivating truth and goodness, and promoting film art and technology. The renewal of concepts is the true meaning of film development.

Editor: jessica