On May 11, the "Art Film Exhibition · 2023 Spring Huaxia Flourishing Theme Screening and The Seminar on Promoting the High-Quality Development of Art Films" was launched at the China Film Archive.

Secretary of the Party Committee and Director (Director) of the China Film Archive (China Film Art Research Center), Sun Xianghui, General Manager of the National Art Film Screening Alliance, Yang Wujun, Director of the Office of the National Film Industry Development Special Fund Management Committee, Vice Chairman of the China Film Association, Yin Hong, professor of the School of Journalism and Communication of Tsinghua University, Li Shaohong, president of the China Directors Association and founder of the "Green Onion Project", Yao Chen, a well-known actor, founder of Bad Rabbit Pictures, and producer of the movie "Umbilical Cord", and screenwriter Kang Chunlei attended and delivered speeches.

Seminar site

At the event, experts presented three topics: "The Ultimate Concern of Art Films: Where We Come From and Where Are We Going", "Art Films and Social Life: We Are the World", "Language and History of Art Films: Our Dreams, Mirrors, and Lamps" Themes, I recommend "Umbilical Cord", "Cosmic Exploration Editorial Department", "Liu Qing", "There is Her in the World", "The Light of the White Tower", "Yoko's Confusion", "The Legend of the White Snake Love", "Follow the Light", "Anita Mui", " Yong'an Town Story Collection" ten excellent domestic art films. The themes and forms of the works cover a wide range, including female perspectives, ethnic minorities, traditional culture, biographies, etc.

Through the form of round table discussion, the seminar invites the director of production, well-known filmmakers, industry experts and scholars to gather together and express their opinions. In his speech, Yin Hong pointed out that only when the market "cake" of the film industry becomes bigger can more space be left for art films. "The current overall trend is that more and more people accept art films than in the past."

The outstanding results cannot be denied, and the problem still deserves attention. Yin Hong believes that art films are sometimes more dependent on external conditions, "Not all art films have the same possibility and can be recognized by the audience. At the same time, the supply of domestic art films is currently not sufficient. It is not enough to fully cultivate the audience's habit of watching art films. How to make good art films find the right cinemas and the right audiences in the next step is an urgent problem to be solved."

Tao Juanyu, deputy manager of Beijing Film Production Branch of China Film Co., Ltd., said in his speech that in addition to investing in the development of large-scale commercial films such as "The Wandering Earth" every year, he will also invest in some art films. The "Umbilical Cord" selected for the "Art Film Exhibition" "Liu Qing" and "Universe Exploration Editorial Department" all have China Film Group behind them. "The current box office of "Cosmic Exploration Editorial Department" is more than 60 million. Judging from the effect of input and output, it is very good. We decided to participate deeply in this film when we read the script in the early stage. We not only regard ourselves as investors, And also a creator."

"In the next 3 to 5 years, China Film Group plans to launch 30-50 small and medium-cost films. In terms of the positioning of these films, we hope that they will have a certain level of art and have their own impact on life in terms of ideological expression. Through observation and experience, he can innovate in creative methods, find his own method, resonate with the audience to the greatest extent, and gain the audience's approval." Tao Juanyu said.

Zuo Heng, director and researcher of the Film Culture Research Department of the China Film Art Research Center, put forward his own views from the perspective of film critics participating in the construction of film ecology: "Film theorists and critics are often an 'afterthought' role in the film ecology, but a A really good critic should also be a 'pawn', and he should find a way to intervene in the front of the ecology with the voice of constructive criticism, so as to make up for many regrets afterwards."