Janet Yang, President of the Academy of Arts and Sciences, used at the Beijing International Film Festival to emphasize the importance of cultural exchange between the world’s largest film markets, and she shares her unique perspective as a Chinese -born Chinese cinematic producer who worked widely in both industries and its case in linking them.
“My personal and professional experience tells me that the film has a unique power to combine people, which is why I am always optimistic about cultural exchange between our countries, but among everyone, everywhere in the world,” Yang told the attendees. She was speaking at the festival industry forum entitled “How high is the film market in China?”
Yang, whose term expires as president of the academy in a “a few months”, was reflected in her pioneering career in bringing Chinese cinema to Western masses and facilitating the main Hollywood productions in China, including the “Sun Empire” from Stephen Spielberg and Bernardo Bertoluoluchi.
The President of the Academy pointed to a significant shortage of talent from Greater China among nearly 11,000 members of the organization, despite the increasing recognition of the global cinema represented by the “parasite” in South Korea to become the first best English language winner in 2020.
She highlighted the main landmarks in the growth of the film industry in China, noting Xu Zheng “Lost in Thailand” (2012) as a penetration of more than $ 200 million with a modest budget and helped pay the local box office in China to one billion dollars for the first time.
Yang also talked about the last success of the Asian diaspora stories that received a great appreciation, noting that “everything everywhere at a time” won seven Oscars including the best image, while “Last Lives” and “Minari” won the best films for the photos. She also indicated that Chinese cinema was praised, referring to “Black Dog” Guan Hu, who won the United Nations Respect for the Cannes Festival last year.
“These films prove that the masses do not need to understand a culture completely to move with them. Authenticity and privacy calls for contact,” Yang noted.
“For Chinese directors, this is a great opportunity to go to the world, international cooperation, and enter films to the international market, and perhaps to work with those of the diaspora to tell the exact stories that raise Chinese acting and deepen the global influence,” Yang added.
During the keynote speech or during her speech at the opening ceremony of the festival, Yang did not refer to the decision of Chinese films to “reduce” the import of American films to China in a moderate way as a result of the tariff wars that US President Donald Trump started.
“With the development of the global filmmaking industry with new technologies and platforms that have shattered traditional barriers, innovation and cross -border cooperation, strategies become indispensable in the competitive market today for Chinese filmmakers, who have put a rich cultural heritage that embraces cooperation with international artists, especially those who have an interest in culture, can tighten Chinese stories and great financial opportunities.” “In essence, global cooperation is a way to cultural innovation and a strategic economic advantage that helps us all.”
When looking at the future, Yang treated industry challenges, including the drop -down window down and artificial intelligence impact on filmmaking, with optimism about the high Chinese cultural influence through recent successes such as “Black Legend: Wukong” and “The Three problem problem.”
“Nezha 2” is one of the central points in the festival and Yang said, “This phenomenon alone has become a strong cultural moment in itself, and a very exciting teacher.
Yang suggested that a Chinese film happen in the best image that may happen Oscar soon, and concludes with “I am for one for one,”.
