The Golden Horse and Golden Rooster awards highlight the stark divide in Chinese cinema between state-approved blockbusters and independent art-house films.
In November, two prestigious film awards ceremonies took place in China: the Golden Horse awards in Taipei and the Golden Rooster awards in Xiamen. While both events celebrate the best Chinese-language films of the year, they represent two vastly different worlds of Chinese cinema. The Golden Rooster awards focus on big-budget blockbusters approved by Communist Party censors, while the Golden Horse awards showcase independent art-house films that defy state control. This article explores the growing bifurcation of Chinese cinema and the implications for filmmakers and audiences.
The Communist Party’s Ideological Control over Chinese Cinema
Under the leadership of President Xi Jinping, the Communist Party has tightened its grip on the country’s film industry. The party aims to use cinema as an ideological tool, demanding that films eulogize the party, the motherland, and the people. Ethical and warm portrayals of China are expected, reflecting Xi Jinping Thought. The winner of the Golden Rooster for Best Feature Film, “Creation of the Gods I: Kingdom of Storms,” is a fantasy epic that exemplifies the party’s desired cultural self-confidence.
Taiwan’s Golden Horse Awards: A Haven for Independent Filmmakers
In contrast, the Golden Horse awards in Taiwan celebrate cinema as a tool for free expression. Founded in 1962, the event has earned the moniker of the “Chinese Oscars” and has become a refuge for independent Chinese filmmakers who reject the demands of censors. However, tensions between Taiwan and mainland China have led to a ban on mainland movies competing in the Golden Horse awards. Despite efforts by the Chinese government to promote the Golden Rooster as more prestigious, the Golden Horse continues to attract a larger number of submissions.
The Challenges Faced by Independent Filmmakers in China
Independent filmmakers in China face numerous obstacles due to the Communist Party’s control over the film industry. In 2016, a new law was passed, requiring all films to obtain permits, regardless of distribution plans. Filmmakers without permits risk fines and bans from the industry. As a result, many top actors, directors, and producers choose self-censorship or aligning with the party’s propaganda efforts to ensure nationwide releases. The Chinese film market’s immense size also influences this decision.
The Golden Rooster’s Main-Melody Films and Limited Options for Audiences
The Golden Rooster awards showcase a genre of films known as “main-melody,” which are patriotic movies that align with the party’s ideology. While impressive spectacles, these films are criticized for limiting Chinese audiences’ options. Director Zhang Zanbo, who is unable to make films in China after criticizing the Golden Horse ban, compares these films to junk food, suggesting that audiences are unaware of the true delicacies of cinema.
The Golden Horse Awards: A Beacon of Creative Freedom
The Golden Horse awards, on the other hand, continue to champion creative freedom in cinema. Historically, Taiwan’s films were subject to rigorous censorship, but after the country’s democratization, storytelling became unrestricted. The Golden Horse remains a symbol of breaking through political divisions and drawing people together through the power of film.
Conclusion:
The diverging paths of Chinese cinema, as exemplified by the Golden Horse and Golden Rooster awards, highlight the contrasting visions for the industry. While the Communist Party seeks ideological control and promotes patriotic blockbusters, independent filmmakers in Taiwan use cinema as a tool for free expression. The challenges faced by independent filmmakers in China, including censorship and limited distribution options, underscore the importance of platforms like the Golden Horse awards in preserving creative freedom. As the Chinese film industry continues to evolve, the battle between state control and artistic independence will shape the future of Chinese cinema.
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