[Chinese,film,industry,still,has,a,long,way,to,go]film industry翻译

　　中图分类号： J922 文献标识码： A 文章编号：1672-1578（2012)01-0004-02 　　 　　 As the autumn gradually goes by, comments and reviews of the summer period films began to flourish. Positive ones give preference to Hollywood blockbusters such as Harry Porter, The Bourn Ultimatum and some others, negative comments, being unanimous and quantitative, target the Chinese-made films as generally secondary, less dramatic and boring. (Kilday,2007) The latter comments, though not totally correct, still sounds reasonable. Take the summer period box office for example, the total ticket office in North America is 4.3 billion dollars while it is 1 billion RMB in mainland China among which the imported films take up almost half. (Bai Qing,2007)Facing such a sharp contrast, we can do nothing but admit objectively that Chinese film industry still has a long way to go.
　　 Chinese-made films could not survive or prosper without the support of the government. It was regulated that the show time of Chinese-made films should account as much as 2/3 of the total show time for each year. (Fan Lizhen,2007)Still, Chinese Film Bureau held an activity named “Month-long exhibition of good Chinese-made films” during 15th September and 31st October in urban areas while in rural districts from 15th September till the end of the year.(Ding Yilan, 2007)Also there are related policies published in favor of the publicity and development of our nation-made films. Without the support from the government, our nation-made films could not have an opportunity to be widely publicized. Such authoritative support indicates sufficiently the weakness of Chinese film industry. As long as the film industry of our country is not powerful enough to become self-reliant, it will not avoid the interference of the authority. Such state of dependence would limit and even block the long-term development and prosperity of Chinese films.
　　 Another weak aspect of Chinese films lies in its poor publicity and marketing. Hollywood blockbuster producers are used to rack their minds to propagate their films: the posters are everywhere a long time before the show day of the film. As long as the film is released, all the by-products such as DVDs, toys, computer games, almost everything you could come up with, are put into market. For instance, we could see in every toy stores the famous Disneyland cartoon figures such as Winnie, Michy and Spiderman. One effort proves to be fruitless when one searches from one toyshop to another for one funny cartoon figure in a Chinese animation called The Legend of Nezha. It should be admitted that the entire line of film production and publicity is mature and influential. As for Chinese films, it is always the opposite case: little publicity, few by-products and low technology. It goes even further that a large number of audiences will watch pirate films in computers or DVD players instead of going to cinemas. Taking into consideration all such points, there is no denying that the film industry in China is still inexperienced. It is in need of further and deliberate struggle in order to revel the American films.
　　 Mainstream art films, as the majority with Chinese characteristics, could not win popularity among Chinese movie-watchers. This is not groundless. As one of the most successful director of the 6th generation, Jia Zhangke is not so nation-wide recognized as other directors such as Zhang Yimou and Chen Kaige. But in France, Jia is a household name for his extraordinary achievements in his art films Tuya"s Marriage and Still Life. In order to arouse the national interest or even the responsibility of our art films, he was determined to show his film Still Life on the very day of the release of Curse of the Golden Flower on purpose. The two-day box office of the former is 1400RMB in Changsha and was dismissed, the latter is 0.3 billion altogether inside our country.(Hou Jian,Long Ling,2007 ) We should accept without questioning that art film is matchless with entertainment ones, the latter being good or bad. Chinese audience tend to cry for good nation-made films while at the same time, pay no attention to our own art films and buy tickets to see blockbusters for entertainment.
　　 Chinese films could not win a big reputation owning to its reliance on government policy, low-level marketing as well as the poor popularity of mainstream films. Many antagonists tend to disagree with the point. In their opinion, Chinese film industry is now successful and still, many famous Chinese films have won worldwide reputation such as Ann Lee, who became the best director in America Academy Awards last year and two Golden Lion Awards have gone to him for his extraordinary films.(Zhao Jun,2007) But Ann Lee is not a typical Chinese film director. Brokenback Mountain and Sense and Sensibility are both films about the west. His films are dedicated to the American people. Such westernized films or films about occidental culture could not be listed as Chinese films. As an individual film director, he is remarkable, but his achievement could not add much to the Chinese film industry. Other film directors who now make Hollywood-style blockbusters such as The Promise and The Banquet are not Chinese films in a real sense. They aim to shock and attract the audience by the spectacular and fantastic scenes, not to convey much thought or culture. A good film should both succeed in technology and in arousing people’s thinking. Therefore, conclusions could be made that such hi-tech Chinese films without genuine connotation could not lead Chinese film industry to develop.
　　 It is an undisputable fact that Chinese film industry should have to overcome many difficulties and then could it gain its remarkable position. Some measures, however, could be taken to help improve the level of Chinese-made films such as wider and further education about film industry, adopting the experienced western ways of producing films and so on. Chinese films should make great efforts. As for us, be generous and patient, give our praise and encouragement whenever they deserve.
　　
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　　作者简介：米海燕（1977-），女，瑶族，湖南辰溪人，硕士，讲师，主要研究方向：英美文学。