Internationally recognised art and literary critic, writer and cultural producer. Published in ELLE, Glamour, Esquire and Cosmopolitan; member of the Union of Writers.
Chinese cinema is a force to be reckoned with. It is the second-largest film market in the world, after the United States, with a box office revenue of $9.2 billion in 2022. It is also a source of cultural and political influence, as Chinese films reach global audiences and reflect the values and aspirations of the world’s most populous nation. But what kind of films are being made and celebrated in China? And what does that say about the future of Chinese cinema?
To answer these questions, one can look at two film awards that showcase the best of Chinese-language cinema: the Golden Horse and the Golden Rooster. Both are prestigious and glamorous events, held in November every year, that honor the achievements of filmmakers, actors, and technicians. Both give out golden animal statues to the winners, symbolizing excellence and auspiciousness. But that is where the similarities end.
The Golden Horse awards, founded in 1962, are often considered the “Oscars” of Chinese cinema. They are hosted in Taipei, the capital of Taiwan, a self-governing island that China claims as its territory. The awards are open to films from mainland China, Hong Kong, Malaysia, Singapore, and Taiwan, representing the diversity and richness of Chinese culture and language. The awards are also known for their artistic independence and integrity, as they recognize films that are original, creative, and critical of social issues, such as corruption, oppression, and identity. Some of the most acclaimed films in Chinese cinema history, such as “A Touch of Zen”, “Farewell My Concubine”, and “Lust, Caution”, have won Golden Horse awards.
The Golden Rooster awards, founded in 1981, are often considered the official awards of Chinese cinema. They are hosted in different cities in mainland China, under the supervision of the China Film Association, a state-run organization. The awards are open to films from mainland China that have passed the strict censorship of the Communist Party, which controls the film industry and its content. The awards are known for their political and commercial orientation, as they favor films that are patriotic, heroic, and profitable, such as war epics, historical dramas, and action blockbusters. Some of the most popular films in Chinese cinema history, such as “Hero”, “Wolf Warrior 2”, and “The Wandering Earth”, have won Golden Rooster awards.
The contrast between the two awards reflects the bifurcation of Chinese cinema, as the Communist Party tightens its grip over the film industry and its ideology. The party wants to use film as a tool to promote its agenda, to shape the national identity, and to project its power and influence in the world. It has imposed more regulations and restrictions on filmmakers, demanding that they “eulogise the party, the motherland, the people”, and that they avoid topics that are sensitive, controversial, or negative, such as democracy, human rights, or environmental problems. It has also discouraged or banned mainland Chinese filmmakers from participating in the Golden Horse awards, as a way of isolating and intimidating Taiwan, which it considers a renegade province.
The result is that Chinese cinema is becoming more homogeneous and less diverse, more propagandistic and less artistic, more insular and less global. The Golden Horse awards, once the beacon of Chinese cinema, are losing their relevance and influence, as fewer and fewer mainland Chinese films are nominated or awarded, and as the political tensions between China and Taiwan escalate. The Golden Rooster awards, on the other hand, are gaining more prominence and prestige, as more and more mainland Chinese films are produced and praised, and as the Chinese film market grows and dominates.
But this is not the end of the story. There is still a vibrant and resilient community of independent and alternative filmmakers in China, who defy the censorship and the mainstream, and who create films that are innovative, expressive, and meaningful. They use various platforms and channels, such as online streaming, film festivals, and underground screenings, to distribute and exhibit their films. They also collaborate and communicate with filmmakers from other regions and countries, such as Hong Kong, Taiwan, and the West, to share their visions and voices. They are the ones who keep the spirit and the quality of Chinese cinema alive and relevant.
The future of Chinese cinema is not a foregone conclusion. It is a battle between two visions, two values, and two awards. It is a battle that will shape the culture and the identity of China, and its role and impact in the world. It is a battle that deserves our attention and support.
