On the Cross-cultural Communication Strategies of Chinese Films in the Context of Globalization

Hero

1. Chinese film participation in cross-cultural communication: it is imperative to go global

As we all know, for a long time, Chinese films have always banned copper in the propaganda of political ideology and lacked a broad international perspective. This situation did not change until the 1980s. However, the pace of going global is still too slow. Today, in the context of globalization, Chinese films are necessary and more likely to participate in cross-cultural communication. "As the name suggests, cross-cultural communication should undoubtedly be both culture and communication: the spread of different cultures and the spread between different cultures." The essence of communication lies in the exchange of cultures.

First of all, in order to achieve leapfrog development in the context of globalization, Chinese films must actively participate in cross-cultural communication and change their weak position. "The progress of a nation or country's culture cannot be separated from the healthy progress of cultural communication. 'Ask where can it be so clear, so as to have a source of living water'. A cultural system without communication is a static system without vitality; cut off from foreign cultural information The nation that communicates cannot be a vigorous nation. As a mass communication medium carrying the task of disseminating Chinese culture and shaping the national image, Chinese film must actively participate in cross-cultural communication, absorb ideological and artistic nutrition in cross-cultural communication, and China's national culture is exported in cultural communication. Especially after China's entry into the WTO, Hollywood films are "in the city", Chinese national films are facing a huge survival crisis, and under the situation of unequal dissemination of information in globalization, a huge "cultural deficit" is forming. , Chinese films can only take off in the 21st century if they rise to the challenge, learn from the world's advanced film concepts and operation methods, and dare to go abroad while sticking to their own cultural characteristics.

Edward Hall, the originator of the study of intercultural communication, distinguishes cultures into strong context cultures and weak context cultures. A culture with a long history is a strong context culture, such as Chinese culture. The obvious manifestation of its strong context is that there are a large number of idioms, proverbs, and complex and strict etiquette in such a culture. Relatively speaking, weak-context culture, such as American culture, is originally a mixture of multiple cultures. cultural factors. In this sense, the historical mission of the cross-cultural communication of Chinese films is to change the long-standing closed self-talking expression, and to make China's strong contextual culture known to the world through a more universal video language.

Secondly, the context of globalization provides the possibility and opportunity for Chinese films to participate in cross-cultural communication. It is undeniable that globalization has brought the danger of cultural homogeneity, and national culture has lost its own personality under the impact of the globalization wave . As some commentators have pointed out: "The characteristic of communication in the era of globalization is to compress the world into a plane without locality by means of communication that eliminates time gaps, and replace multiple spaces with one time. Due to the unequal distribution of communication power , the time of the developed countries and regions that master the resources of the worldwide communication network becomes the world time in the communication, in a sense, it is equivalent to canceling the existence of other cultures. It will inevitably lead to a "cultural rebound", causing the resistance and resistance of the local culture (or national culture) to the foreign culture, and making the cultural heterogeneity and locality more intense. As American sociologist Roland Robertson pointed out: "Global capitalism promotes both cultural homogeneity and cultural heterogeneity, and is constrained by both cultural homogeneity and cultural heterogeneity. Therefore, globalization It does not mean the unity of culture, on the contrary, "global economic integration and global cultural pluralism, the two present a discordant historical symmetry in the antinomy. This is a two-way movement. "Globalization provides a two-way penetration process of 'universal specialization' and specialism generalization to the development of culture, that is, the influence of globalization is reflected in two extremes: its influence moves from the West to the East, and also from the movement from the West to the East. The east moves in the opposite direction to the west." This undoubtedly provides a theoretical basis for the outward communication of Chinese films. In fact, globalization shows the existence of cultural differences on the one hand, and the flow and exchange of different cultures on the other hand. "In a certain sense, the development of communication globalization will promote the mutual recognition and integration of global cultures, which is conducive to eliminating the alienation and isolation between human cultures and even misunderstanding and hostility, and is the ideal of integration of human beings with common interests and common value norms." The formation of global culture' creates a rich and open space for dialogue. "Chinese film is exposed to such an unprecedented and frequent cross-cultural communication context, and it is entirely possible to make a difference. In fact, Chinese film has achieved certain achievements."As far as film academia is concerned, in the past two decades, a large number of outstanding Chinese films have successively won awards at various international film festivals, making the process of "globalization" of Chinese films much ahead of the "globalization" of Chinese literature. . This is gratifying, but it should also be seen that in this process, we still lack due self-consciousness.

2. "Double Coding" Strategy in Cross-cultural Communication: The Fit of Internationalization and Localization

If Chinese films want to go to the world and realize cross-cultural communication, they must learn how to "code" the artistic information, cultural information and video information of the film, so as to realize its communication effect. Practice has proved that too localized or too internationalized information coding is not conducive to the cross-cultural communication of films. It is impossible to stick to nationalism. "The narrow national vision of film creation hinders the continuous expansion of the scope of communication between national films, and also limits the deeper and broader aesthetic coverage of the subject matter presented." But on the other hand, “if a film only has those elements of film culture that can accommodate international audiences, it just makes the film lose its cultural scarcity, and the film’s cultural capital also loses its condition as information capital.” . How to find a "fit point" between the two is the key to the success of film cross-cultural communication.

Mette Hiyot divides the cultural factors of film into three levels: the first level is the obscure and difficult to communicate film culture factors; the second level is the convertible film culture factors; the third level is the international film culture factor. In order to achieve the greatest effect of cross-cultural communication, Chinese films must avoid the first level, so as not to "play the piano to the cow"; and also avoid the third level, so as not to lose their own cultural characteristics. What should be devoted to pursuing is the second level, striving to find a "fit point" in the combination of internationalization and localization, and adopting the "dual coding" strategy of internationalization and localization to realize the convertibility of the two film cultures.

First of all, from the perspective of cultural strategy, Chinese films should explore those "cultural capital" that are both local and understandable by the world, and maintain the local cultural characteristics while taking into account the integration and communication with the world culture. The cultural expression of the film is a system, which includes not only external representations such as skin color, clothing, diet, language, and architecture, but also internal meanings such as interpersonal relationships, living habits, folk rituals, and values. For Chinese films, in the 1980s and 1990s, "new folk films" such as "The Yellow Earth", "Red Sorghum", "Chrysanthemum Dou" and "The Big Red Lantern Hanging High" were produced by the fifth generation of directors represented by Zhang Yimou and Chen Kaige. ", etc., are the first film works that put this cultural strategy into practice, successfully promoting Chinese films to the world. With the help of typical symbols with strong local cultural characteristics, such as "Yellow Earth", "Yellow River", "Jiangnan Water Village", "Red Sorghum", "Red Lantern", etc., these films create a certain atmosphere and reflect a unique "Eastern Mirror". Although some critics criticize such films by postcolonial theories for deliberately creating an "other" image for the West in order to cater to the tastes of Western audiences, from the perspective of cross-cultural communication, the so-called "exotic" and "folk spectacle" It is an important part of national cultural resources.Utilizing it as exchangeable cultural capital is not only strategically feasible, but has also been repeatedly proven to be a successful way to promote national films internationally. "From the perspective of world film history, the spectacle of images as exchangeable cultural capital does not start with the fifth generation of Chinese directors, Hollywood Westerns, a large number of European films with ethnic customs, Japanese Kurosawa Akira, Oshima Nagisa, Imamura Shohei’s films are all about exploring the cultural resources of the nation and using the nation’s video wonders as exchangeable cultural capital.” If the folk elements of this batch of Chinese films going international are local, then these films The cultural reflection and humanistic care infiltrated in the film are global, such as the film's praise for the publicity of human nature, the accusation of the destruction of authoritarian culture and the distortion of human nature, the affirmation of the pursuit of freedom and so on. This is understandable to audiences all over the world. As Zheng Xiaolong, the director of the film "Gua Sha" said: "Although various cultures are very different at a superficial level and on the surface, when it comes to people themselves, human nature, such as family affection and family level, they are the same." Good at finding It is an important cultural strategy to realize the global dissemination of Chinese films by digging out the cultural resources that both the East and the West can understand, which have both commonality and a "sense of distance", and find the "fit point" between nationalization and internationalization.

The most successful use of this cultural strategy is the Oscar-winning Ang Lee's "Crouching Tiger, Hidden Dragon" and Zhang Yimou's "Hero" and "House of Flying Daggers" and other martial arts blockbusters. These films can successfully enter the mainstream film market in Europe and America. All of them adopt this "double coding" cultural strategy and conquer the Western audience in the "combination of Chinese and Western" style of video writing. Ang Lee's "Crouching Tiger, Hidden Dragon" set the record for the longest release of a Chinese-language film in European and American theaters, while Zhang Yimou's "Hero" created a historic breakthrough for Chinese films to enter overseas markets. According to statistics, the cumulative overseas box office of the film has exceeded 1.1 billion yuan; the overseas box office of "House of Flying Daggers" is also very impressive, reaching 280 million in Japan, South Korea, Hong Kong and Taiwan alone. Some people attribute the success of Ang Lee's "Crouching Tiger, Hidden Dragon" to three aspects: first, the international cast and crew; Extensive use of computer digital technology to produce special effects); the third is the cultural theme of friction and re-integration. It should be said that this kind of analysis is very accurate. Ang Lee's genius lies in grasping the "joint point" of two cultures and two markets. The success of the cross-cultural communication of "Crouching Tiger, Hidden Dragon" has also inspired mainland directors. Zhang Yimou and Chen Kaige are keenly aware that martial arts films with Chinese characteristics are an important "fit point" in cross-border communication. "Hero" and "House of Flying Daggers", Chen Kaige filmed "The Promise". Different from the previous "New Folklore Films", these films follow the route of commercial films, and already have a more conscious and active awareness of participating in cross-cultural communication. Zhang Yimou consciously takes China's unique "martial arts culture" as the core, and incorporates international ideological elements such as "world" and "peace". Audiences from different regions can discover the cultural connotations they can understand. With beautiful visual effects, the film has won the hearts of audiences around the world. “The Hero is a metaphor for the world today. The comedy of Hero is that it is a film full of Chinese cultural symbols, but the film’s solid core is truly global. Zhang Yimou and his films have Instead of trying to show China's 'spectacle' in globalization, it tries to explain a new global logic with Chinese-style codes. Such an interpretation is not necessarily accurate. But what is certain is that "Heroes" is indeed both national, It is also from the world. The same is true of "House of Flying Daggers". As far as the title is concerned, "House of Flying Daggers" borrowed from the traditional Chinese folk music pipa has already marked it with the code made in China. But in "House of Flying Daggers", we can clearly see the "undercover and anti-personnel" style of "Spy: Impossible", the battle of the bamboo forest in "Crouching Tiger, Hidden Dragon", the momentum and texture in "The Matrix", all these Let the Western audience have a sense of deja vu. Zhou Xingchi's "Kung Fu" undoubtedly adopted this cultural strategy. Stephen Chow said frankly that he hopes his films "can go to every corner of the world" and "can be accepted by more audiences in different markets, including Western audiences". For the success of cross-cultural communication, he invited Yuan Heping, who has been recognized by Western audiences, as a martial arts instructor. When producing, he also added the most popular form factors including Japanese manga style, resulting in a cartoon effect. All of these are cultural strategies that cannot be ignored to achieve the high box office of "Kung Fu". From this point of view, it is undoubtedly an effective strategy for the cross-cultural communication of Chinese films to skillfully incorporate international codes into Chinese films full of oriental cultural charm.

Secondly, from the perspective of the theme strategy, in order to arouse "resonance", Chinese films should also carefully choose the film theme, or the content of film communication. An important reason why Chinese films cannot enter the international market is that too narrow film subject limits the expansion of their influence. China is an ancient civilization, with rich historical and cultural accumulation, and irreplaceable subject matter advantages. China in the current transition period has many more film themed resources to tap. Unfortunately, we lack a modern understanding of these subject resources. and worldwide observation. When Hollywood aimed at the "World War II" theme and shot world-renowned blockbusters such as "Schindler's List", "Saving Private Ryan", "Into the City", "Pearl Harbor", and "The Pianist", as a victim of "World War II" And one of the countries with the largest number of deaths, Chinese films are not satisfactory in the exploration of such topics, and so far there is no "World War II" film that has international influence. This can only be attributed to the narrow creative vision. To. On the other hand, China's subject matter resources are quietly draining. "To this day, the government still lacks the necessary vigilance and strong prevention against the loss of cultural resources. The "Mulan" produced by Disney in 1999 is a typical example of "stealing" theme resources from China. International, we must not only dig out our own theme resources, but also pay attention to some international theme resources or cross-cultural theme resources. Only by allocating theme resources according to the needs of the target market can we conquer the international film and television market. In the film and television themes, there are too few works that can be international themes. We are all very weak in themes of the elderly, the disabled, and women. Even the themes of AIDS and homosexuality should enter our work with the development of society. vision. (Chinese film) To complete the transcendence from "family consciousness" to "class consciousness". In our film and television, it is necessary and necessary to pay attention to nationality. However, as the world is increasingly integrated, should we pay more attention to the common things of human beings? Compared with class consciousness, class consciousness is more important. A higher level, any narrow nationalism is not enough.... The good news is that in recent years, some Chinese film directors have finally adjusted their strategies and began to pay attention to some "foreign-related themes", and produced a batch of so-called "foreign-related themes". Movies", from Feng Xiaoning's "Color Trilogy" ("Red River Valley", "Yellow River Endless Love", "Purple Sun"), Xia Gang's "Red Cherry" and "Red Lovers", to the later "Happy Duolai" Mi", "Gua Sha", "My 1919", "The Devil Is Coming", "Romantic Cherry Blossom", "Big Shot". "Heroes of Heaven and Earth", "Fanny's Smile", "Balzac and the Little Tailor", "The Woman in the Courtyard", and Xu Jinglei's "Letter from a Strange Woman" adapted from Zweig's novel, etc., Chinese films are beginning to be conscious Focus on the "outside", pay attention to the relationship between Chinese and foreigners, pay attention to the conflict and fusion of Chinese and foreign cultures and concepts. This change in the theme and strategy shows the signs of national films from localization to globalization, and it is a kind of film exploration worthy of recognition. In the development of film themes, "sixth generation" directors have made unremitting exploration from "another angle". If the "fifth generation" to go to the world mainly relies on "cultural strategy", then the "sixth generation" as a whole, they mainly rely on "theme strategy" to go to the world. The sixth-generation directors cast their eyes on the present, pay attention to the social changes in the period of social transformation in China, and pay attention to the gray lives of marginal figures. This "marginal theme" just fits the global concern in the era of globalization. As Homi Baba asserts when talking about globalization, power, as the counterpart or parallel movement of globalization, minority (minoritization) is also moving from the periphery to the center, the purpose of which is to finally dissolve the power of the center. .. The film text of the sixth generation is in line with the research topic of 'post-humanism' caused by globalization in Western academic circles. "As a sixth-generation director of "post-humanism" practice, he has conquered the judges of international film festivals with his "marginalized" film themes and unique artistic expression. Focusing on the gray lives of marginal figures, this "marginal theme" just fits with the worldwide concern in the era of globalization. As Homi Baba asserts when talking about globalization, power, as the counterpart or parallel movement of globalization, minority (minoritization) is also moving from the periphery to the center, the purpose of which is to finally dissolve the power of the center. .. The film text of the sixth generation is in line with the research topic of 'post-humanism' caused by globalization in Western academic circles. "As a sixth-generation director of "post-humanism" practice, he has conquered the judges of international film festivals with his "marginalized" film themes and unique artistic expression. Focusing on the gray lives of marginal figures, this "marginal theme" just fits with the worldwide concern in the era of globalization. As Homi Baba asserts when talking about globalization, power, as the counterpart or parallel movement of globalization, minority (minoritization) is also moving from the periphery to the center, the purpose of which is to finally dissolve the power of the center. .. The film text of the sixth generation is in line with the research topic of 'post-humanism' caused by globalization in Western academic circles. "As a sixth-generation director of "post-humanism" practice, he has conquered the judges of international film festivals with his "marginalized" film themes and unique artistic expression.

Looking at the Iranian and Korean films that have rapidly risen in the international film circle in recent years, all of them have won by relying on both local and global theme resources. "The greatest works of art should touch on real-life problems and tasks, touch on human experience, always seek answers to contemporary problems, and help people understand the environment in which those problems arise. As a country with rich subject matter resources, Chinese film It should have a global vision. On the one hand, it fully taps its own resources, and on the other hand, in the spirit of "bringing it", it actively explores new subject resources, maximizes the cross-cultural communication function of films, and makes Chinese films. Make a global impact.

Third, from the perspective of artistic strategy, Chinese films should be good at learning from international film language, and boldly innovate while maintaining their own aesthetic characteristics. The language expression system of film mainly includes the combination of moving image language and conceptual language (such as dialogue, narration, monologue), and its essential feature lies in the expressive power of image symbols. Scholar F. Vanoye enumerates the "special codes" of film: camera movement. . He believes that the charm of film art lies in the fact that the film has the greatest recording ability, which makes up for the biggest shortcomings of many other arts; the film has the greatest reproduction ability, including realism and special effects. The montagesequence of image montages. Re-integrate the so-called "non-special code of film" by scholar M. Vermet: such as "perceptual code" related to perspective, "cognitive code" related to cultural background, "perceptual code" related to personal preference. "code", "subconscious code" involving psychoanalysis, and "narrative code" involving narration, etc., make film art break through audio-visual restrictions and create a colorful and charming "dream world." In terms of artistic essence, Chinese and foreign films are no different. Only by being innovative in the artistic expression of films can they attract a wide audience. Films from Taiwan, Hong Kong and the works of fifth-generation Chinese directors can go to the world, except for In addition to its cultural connotation, the introduction of new film language is also indispensable. As some commentators summed up: "(20th century) around the 1980s, Hong Kong's 'new wave' films represented by Tsui Hark and Xu Anhua , the Taiwan New Film Movement' represented by Hou Hsiao-hsien and Yang Dechang, and the mainland's 'fifth-generation' director group represented by Chen Kaige and Zhang Yimou. Although they have different artistic styles and aesthetic pursuits, their films also have a The common feature, that is, to a certain extent, reflects the collision between the traditional national culture and modern consciousness, and in the inheritance and transcendence, it reflects the unique cultural value and aesthetic value of the Chinese national film art, or in other words That is: 'Use the most modern artistic language to reflect the most traditional Chinese culture. Without this "most modern artistic language", Chinese films cannot be transmitted across cultures. Scholar Mr. Yin Hong summarized three points when summarizing the artistic strategy of Chinese film internationalization: One is the "non-stitched anti-reunion narrative structure", that is, the closed structure of "conflict-resolving", good and evil, which is the kind of classic Hollywood, is abandoned in narrative. The second is "natural and simple montage form". That is to say, instead of the exaggerated, jumpy, tight and dramatic montage form of Hollywood movies, most of them use a relatively static picture, a relatively gentle montage connection, and sometimes even have a Chinese landscape painting, ink painting The charm, the picture is open , The shape is gentle. The third is "documentary style". That is to say, an anti-Hollywood documentary technique is adopted in the narrative style, such as Zhang Yimou's "Qiu Ju's Lawsuit", Ning Ying's "Looking for Fun" and "Police Story", Zhang Ming's "Wushan Yunyu", Wang Xiaoshuai's "Winter". Spring Days, etc. If this kind of artistic strategy has not formed self-consciousness in the "fifth generation", then, in the sixth generation of directors, the pursuit and publicity of the film's artistic personality is more conscious. "The common strategy of the sixth generation of directors going abroad is to borrow arrows from straw boats", that is, to focus on the European "niche" art market (that is, to raise funds first, then win awards, and then attack the market), not "post-colonial" The 'style of condescension to the foreigners', but the discovery of a "bright spot" of China's current social change and the publicity of artistic personality, to conquer foreign territories and develop new vitality. This kind of local, borrowing from European art films, consciously and effectively The targeted anti-Hollywood artistic strategy not only brings Chinese films into line with the world's leading film arts, but also creates the "artistic individuality" of Chinese films, which is conducive to Chinese films reaching the world as an independent artistic identity and spreading across borders.

In addition, from the perspective of operation strategy, if Chinese films want to go to the world, they must learn from the advanced concepts and business operation rules of world films on their own basis, and create a good "media ecological environment" that is conducive to the development of Chinese films. ” (such as policy environment, resource environment, technology environment and competitive environment, etc.). As Mr. Shao Mujun said: "After China's accession to the WTO, the primary problem facing the film industry is to fully implement industrialization and completely change the concept of film. In the era of globalization, there is no other way for Chinese films to resist Hollywood. It is said, "Beat Hollywood with the Hollywood way", take the film as an industry, implement a market-oriented strategy, and do a good job in every link in the film industry chain. Investment strategy, brand strategy, market strategy of Hollywood movies. Marketing strategy Zhang Yimou said: "From investment production to distribution and promotion, it can be clearly seen that it is necessary to systematically learn from Hollywood's business operation rules. From a business perspective, the closer Chinese films are to standardized operations, the more The more mature Chinese films are, the more they will fight against Hollywood's commercial blockbusters, this is the actual action. "

3. "Gatekeepers" and "Cultivation Analysis" in Cross-Cultural Communication: Bringing Western Audiences into Eastern Situations

In cross-cultural communication, an effective communication contains at least three key elements: the communication subject, the receiver and the encoded message. It has been discussed above that "coding information" in cross-cultural communication needs to pay attention to the commonalities and differences of the two cultures. In addition, the communication subject and receiver (communication object) also restrict the effect of cross-cultural communication. Using the "gatekeeper" theory and "cultivation analysis" theory of communication studies, we can conduct a more in-depth analysis of the process and elements of cross-cultural communication. The "gatekeeper", also known as the "gatekeeper", was created by psychologist Kurt. Luin in 1947 in the "channels of group life" an article put forward. Luin's "gatekeeping" refers to the screening and filtering of information by communicators. Between the communicator and the audience, the "gatekeeper" decides the choice of information, and plays an important role in whether and how to transmit information. In the film medium, all those involved in film production can be called "gatekeepers", but the most important gatekeeper is the film director. "Cultivation analysis", also known as "cultivation analysis" or "cultivation analysis", was proposed by American communication scientist G. Gerbner and others . Gerbner and others believe that the "symbolic reality" prompted by the media in modern society has a huge impact on people's understanding and understanding of the real world. Due to certain tendencies of the media, there is a great deviation between the "subjective reality" depicted in people's minds and the objective reality that actually exists. The influence of the media on the audience is not short-term, but a long-term, imperceptible and gradually cultivated process, which unknowingly restricts people's view of reality. Gerbner et al. refer to this study as "culture analysis." This theory reveals what kind of influence the mass media has on people's view of reality, and how this influence occurs. Although Gerbner's theory of "cultivation analysis" is derived from analyzing television, this theory also has important theoretical and practical significance for Chinese films to spread across cultures to the world and to cultivate "international audiences".

(1) The main strategy

In terms of the main body of communication, Chinese films should cultivate qualified "gatekeepers" who are proficient in cross-cultural communicators of Chinese and Western cultures. In the context of globalization, Chinese filmmakers should have an international perspective, abandoning a single perspective and excessive local complex, and using a modern and global perspective to observe China's local culture or the differences between Chinese and Western cultures. The "Father Trilogy" ("Pushing Hands", "Wedding Banquet" and "Eat Man and Woman") directed by director Ang Lee from Taiwan region puts Chinese traditional culture in the context of Western culture for comparison, arousing the audience's interest in the differences between Chinese and Western cultures And thinking, applauded and popular, its "Crouching Tiger, Hidden Dragon" is closer to the habit of Westerners in the expression of traditional Chinese culture, and thus has achieved greater success. The achievement of these achievements is due to Ang Lee's familiarity with the differences between Chinese and Western cultures and aesthetics. "The competition in the post-WTO period is mainly about talent, culture, and artistic innovation. With new talents, it is inevitable to produce works rich in national culture and creativity. Only then can the historical process of local film industrialization be effectively promoted. , and truly open up a healthy and sustainable film market. This shows the importance of talents to Chinese films. It should be seen that in China, only Zhang Yimou and Chen Kaige are truly international film brands with international box office appeal. A few directors, such as Feng Xiaogang, who is very popular at the domestic box office, are unknown in the international film circle. Although the sixth and new generation directors in China have surfaced, Chinese films must create a truly international Brand, there is still a long way to go.

(2) Audience strategy

In terms of receivers (communication objects), if Chinese films want to occupy the international market, they must cultivate an "international audience" for Chinese films. From the theory of "cultivation analysis" in communication studies, foreign movie audiences construct the image of China in their minds through the "mimic environment" or "symbolic reality" provided by Chinese movies to understand Chinese people and Chinese culture. Since this kind of influence is a long-term and subtle "cultivation" process, this requires Chinese films to handle the "agenda setting" function of the film medium, and use correct cultural communication strategies to let foreign audiences understand and love Chinese culture, and to Chinese films have a strong interest in creating a real, complete and individual "Chinese image" on the screen. In order to win international audiences for Chinese films, we must also pay attention to studying the appreciation tastes and movie-watching psychology of international audiences. Chinese and Western audiences "have more differences than commonalities in terms of the audience concept of the media and the audience's media choices."

Chinese films should be good at guiding and cultivating the audience's "Chinese aesthetics". "Art is created in accordance with the laws of beauty, so that the recipient can enjoy the spiritual enjoyment of beauty. But for art communicators, we cannot be satisfied with this, and we should actively and actively take on the responsibility of cultivating people's sense of beauty and edifying people. Of course, this specific strategy of guiding "cultivation" should be implemented in the "double coding" of cross-cultural communication, and grasp the "fit points" of different cultures ", not only pay attention to the "familiarization" of aesthetic psychology, but also pay attention to "defamiliarization". "A person's artistic aesthetic psychology is easy to resonate with the works of art that express the regional culture and national culture to which he belongs. At the same time, due to a series of psychological factors such as curiosity, novelty and desire to understand the unfamiliar, he is also willing to accept other regional and foreign cultures. It is in this sense that the formed works of art are more ethnic, the easier it is to go to the world.”

Indeed, Chinese films must adapt to, guide and improve the aesthetic psychology and artistic taste of international audiences. In fact, Chinese films have achieved some success in cultivating international audiences. Thanks to the efforts of generations of Chinese filmmakers, China's "martial arts genre films" have cultivated a large number of loyal audiences overseas. In the future, Chinese films will have to make further efforts to form "Chinese genre films" with richer styles, attract more international audiences, and build a brand for Chinese films to enter the international market.

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