Research On The Value Orientation And Strategy Of Chinese Film Overseas Communication Since The Reform And Opening Up

The reform and opening-up since 1978 has profoundly influenced the pattern of Chinese society,greatly changed the direction of Chinese films,and opened the international process of Chinese film overseas communication.After more than 40 years of reform and opening up,the breadth and depth of overseas communication of Chinese films have made a qualitative leap.Value orientation is the foundation of overseas communication of cultural products,and the way of overseas communication of Chinese films is also based on it.In the past 40 years and more,due to the influence of politics,economy,society and culture,the overseas communication of Chinese films has formed distinct value orientation in different stages;meanwhile,different communication strategies have been adopted in response to different value demands.This paper discusses the relationship between value orientation and coping strategies,which can more clearly reflect the logical relationship of Chinese film overseas communication.The first chapter defines the overseas Chinese films,introduces the source of the text,the historical stages and the general situation of the overseas Chinese films.The second chapter discusses the first stage(1978-2000)of overseas communication of Chinese films.In this stage,Chinese films take art films as a breakthrough to the world and win the recognition of the international community.Among them,1978-1984 was the prelude to the overseas communication of Chinese films,and the number of overseas awarded films was small and the influence was small;1985-1993 opened the stage of international communication of Chinese films,the fables contained in folk films met the imagination of the west,and China won many important awards in the international influential film festivals;during 1994-2000,the focus of art films turned to the urban life of the common people,and continue to win awards at the International Film Festival,overseas copyright sales also began.The third chapter discusses the performance of the second stage(2001-2010)of overseas communication of Chinese films.In the context of globalization,the main demand of overseas communication of Chinese films is commercial interests.In this stage,martial arts films with universal values,visual consumption wonders and national characteristics have successfully entered the western mainstream market.The fourth chapter discusses the situation of Chinese film overseas communication from 2011 to now.In this period,various types of films practice the aesthetic concept of film industry,which is conducive to improving China's international influence and achieving the goal of double harvest of overseas box office and artistic word-of-mouth.Through the review of the overseas dissemination of Chinese films around 40 years,it can be seen that: in terms of value orientation,it from the initial identity based on the cultural and political sense to the economic interest demand,and then to the influence of the country in the sense of national strategy,the film itself has experienced the transition from elite personal works to commercial products and finally to a combination of industry work and aesthetics.At present,the overseas communication of Chinese films is still in the pursuit of international influence,and the film industry system still needs to be continuously upgraded and improved.Film practitioners should set up a global vision,and the pan Chinese cultural circle market can make key breakthroughs.