編者按：奧斯卡獎(jiǎng)是一個(gè)國(guó)際性的比賽，近年來(lái)越來(lái)越受到做人的喜愛與追逐，許多演員都有向傲視開獎(jiǎng)項(xiàng)進(jìn)發(fā)的趨勢(shì)，我們來(lái)看一看用英語(yǔ)如何解釋這個(gè)話題。

　　Chinese film phenomenon Wolf Warrior 2(戰(zhàn)狼2 zhànláng2) was selected as the Chinese entry for the Best Foreign Language Film category at the 90th Academy Awards this month.

　　As a commercial blockbuster, Wolf Warrior 2(戰(zhàn)狼2 zhànláng2) achieved huge success both at the box office and in public praise. More importantly, it redefined China's entry for Oscar awards.

　　Some people are excited to see this film flying the flag for China in an Oscar bid, while others think otherwise.

　　It received praise for its patriotic plot, action sequences and the cast's performances but was criticized for excessive attention to visual effects and a plot short of "themes".

　　Since 1979, only four Chinese films have been officially nominated for the Best Foreign Language Film, despite submissions each year. The four are Ju Dou (júdòu菊豆 ), Raise the Red Lantern (dàhóngdēnglong gāogāoguà 大紅燈籠高高掛) and Hero (yīngxióng英雄), directed by Zhang Yimou, and Farewell My Concubine (bàwángbiéjī 霸王別姬), by Chen Kaige.

　　Those films may have different directors, plots and performances, but they all boast a strong artistic atmosphere and memorable moments.

　　They are referred to as "literary films" (wényìpiān文藝片).

　　At that time, literary films seemed to win the favor of western film festival juries and occupy a huge market share in the Chinese mainland. Indeed, the twenty years from 1985 to 2005 represent the golden period for Chinese literary films and make the world better understand Chinese film as an art form.

　　However, a vicious circle began to make inroads on the film industry in China.

　　Quite a few directors paid too much attention to producing literary films, despite public response and box office failure. And in many research centers and institutions of higher learning, teachers have advocated the French New Wave while looking down on commercial films.

　　"The truth was, at that time, young people would rather watch Hong Kong comedies and costume films through renting VCDs at home than support ongoing art films at the theaters," says Wang Yichuan, director of the School of Arts at Peking University. "The film industry in the Chinese mainland was out of line with the general public at that time.

　　Hong Kong comedies and costume films including A Chinese Odyssey (left) and Swordsman series(right) have a far-reaching impact on Chinese mainland movie-goers.

　　Gradually, the vicious circle has been broken in the past five years.

　　Many top-grossing movies, including Wolf Warrior 2, Monster Hunt andOperation Mekong have shaken the world film market and achieved massive success, both commercial and in public response, proving the power of the Chinese film industry.

　　"It took more than 100 years to form the American film industry, and some fundamental concepts and standards for excellent movies cannot be changed easily. Movies like Kung Fu Panda and Mulan are based on the taste of American audiences, filling some so-called Chinese-style elements in the movies ," movie expert Zhu Yi said.

　　Chinese director Gu Yu echoes this opinion. "Oscar judges have their own standards when they select candidate films, while our domestic directors still have to follow our own standards when producing films. After all, the top priority for Chinese films should be to be beloved by the Chinese people."

　　公眾號(hào)：HanFan漢風(fēng)

　　本文為原創(chuàng)文章，版權(quán)歸作者所有，未經(jīng)授權(quán)不得轉(zhuǎn)載!