earticle

영어

The Chinese art film projection industry plays an important role in the survival and development of Chinese art films. At present, domestic art films are mainly screened at single venues, such as the China Film Archive and Broadway Cinematheque, as well as the Nationwide Alliance of Arthouse Cinemas formed by commercial cinemas. The China Film Archive relies on the support of the government and is an institute that promotes public welfare, while Broadway Cinematheque relies on the substantial funds from its parent company. These two modes are not easily replicated and they do not contribute to furthering the progress of the art film industry. However, the Nationwide Alliance of Arthouse Cinemas has considerable commercial potential, meets the requirements for fundamental development, and a high value is placed on its development in China. With national attention directed on the film industry, the development of the art film market has also been highlighted. Based on an investigation of the current situation, the author thinks that there are some problems in the art film screening market as represented by the Nationwide Alliance of Arthouse Cinemas, such as insufficient diversity of film sources, unstable scheduling of film screenings, and that art films have not been properly promoted resulting in an inability to attract a sufficient audience. In this study, the relevant data were collected and analyzed qualitatively, and compared with the development of art cinemas in France and the United States. The following conclusions were obtained: Firstly, the film censorship process should be modified. The review committee should respect the laws of artistic creation, reduce the interference of non-artistic factors in movies, increase the proportion of professional reviews, attract younger reviewers, and improve the review mechanism. Since China currently cannot implement a film classification system, it should relax the restrictions on film censorship as much as possible to promote the prosperity and development of art films. Secondly, the government needs to increase and refine how it supports the art film industry and provide real support to different types of projection companies, such as box office compensation for losses incurred from showing art films instead of commercial films, improving the wages and welfare of art film industry workers, and increasing the relevant tax relief, subsidies and other preferential policies. Thirdly, theaters and cinemas should actively develop business models by forming their own unique viewing culture and atmosphere to cultivate a long-term stable audience. Finally, catering the favor of college students, art film culture should be shaped and developed on campuses, important venues to show these art films, which can both expand the customer base of art film by attracting college students, and enable art film to serve as an accelerator to cultivate college students’ appreciation in humanities. In this way, if all parties work together it is believed that the art film market will gradually grow and flourish.