KJCKorea
Journal Central

On the one hand, as an economic product, movies involves multiple links such as planning, production, distribution, publicity, and screening. The box office revenue generated can bring substantial economic benefits to film creators and producers. On the other hand, movies are also cultural products and carriers of cultural output. Whether it is Hollywood in the United States, K-Pop in South Korea, and the animation industry in Japan, they have fully demonstrated their own unique country's culture, attracted attention from around the world, and are regarded as positive models in international communication, which we call cultural “soft power”. But now that Chinese films are confidently entering the world stage, they are also facing an embarrassing dilemma. The champion of the Chinese New Year Festival in 2019, the SF movie <The Wandering Earth>, full of Chinese imagination. However, this film, which is known as “marking the spring of Chinese SF movie”, did not receive a very high rating in overseas markets. Coincidentally, there is also a Chinese movie <Wolf WarriorⅡ> that ranked the top-1-box office list in mainland China with 5.639 billion yuan, but it ranked 72nd in the global ranking list. Unlike the ancient costume martial arts films and police and criminal Kung-Fu films that have been popular on the international stage from the end of the 1990s to the beginning of this century, the popularity of Chinese films seems to be gradually cooling down on the international stage. This paper takes Chinese-language films as the research object, trying to analyze the phenomenon of “cultural discount” and influencing factors in film cross-cultural communication, expounding the barriers and elements of Chinese-language films in the process of international communication, and find the reasons for the weakening of the communication effect. Thinking about the strategy of how to eliminate and reduce the phenomenon of “Cultural discount” in cross-cultural communication when Chinese films enter the international market in the future and provide an academic reference for the “Globalization” policy of Chinese culture.

Chinese films, International communication, Cultural discount, Visual Spectacle, National Ideology