Generally, the world is divided into four major civilization regions: the Eastern Mediterranean civilization zone, including Egypt, Babylon, Assyria, Phoenicia, Greece, etc.; the South Asian subcontinent civilization zone, including India and its surrounding areas; the East Asian civilization zone, including Huaxia, Nanxian, Northern Dynasties, Fuso, Vietnam, etc.; and the Central and South American Indian civilization zone, including the Maya, Aztec, Inca, etc.

At different times in human history, there have been several centers of civilization and science. With these centers as the core, several cultural geographical plates have emerged, called "cultural spheres", that is, organic cultural systems composed of multiple cultural groups with the same or similar main cultural characteristics and functionally related to each other. Due to the existence of "cultural potential differences" between different nationalities, countries, and regions, advanced culture naturally spreads to the relatively backward side, and the backward culture side takes the initiative to absorb and digest the advanced culture. The former is called "core culture", "archetypal culture" and "radiation culture", while the latter is called "peripheral culture", "metamorphosis culture" and "tolerant culture". The unification of the two forms a cultural circle.

The so-called East Asian cultural sphere refers to the culturally and geographically similar regions of East Asia and Southeast Asia that have been influenced by the Chinese legal system and have been influenced by the Chinese and Chinese culture or Han culture, have used Chinese characters in the past or present, and have used classical Chinese as a written language. The basic elements of the East Asian cultural sphere are Chinese characters, classical Chinese, the Chinese-style legal system and agricultural and industrial skills, Taoism, and Sinicized Buddhism. These factors have had a profound impact on the language, ideology, social structure, and level of development of the productive forces of East Asian countries. Therefore, in East Asia, with China as the center, an East Asian cultural circle has been formed.

To give a simple example, for example, the Chinese hanfu, after being introduced to Nanxian and Fusang, formed two different costumes, hanbok and kimono, respectively.

The period of occurrence of Chinese culture was largely completed independently in isolation from other cultures outside the East Asian civilization region, and its culture has a distinctive uniqueness and autonomy. The level of development of Chinese culture has been ahead of that of East Asian countries in a very long historical period, and has produced a huge cultural radiation force.

The relatively closed pattern of China's territory provides a geographical premise for the independent occurrence and development of Chinese culture. This has enabled the Chinese culture to retain its national traditions relatively completely, progressively and continuously, and has also caused the Chinese people to suffer from the chronic disease of "egocentrism." After modern times, the Chinese people gradually came out of the state of isolation. In particular, after reform and opening up, China has finally quickened the pace of going global.

The ideological foundation and core of Chinese culture is Chinese philosophy.

During the Warring States Period, Taoism, Confucianism, Mo, Law, Name, Yin and Yang, and a hundred schools of thought contended. The Qin Dynasty was still a legalist, and the art of immortals was prevalent.

At the beginning of the Han Dynasty, Taoism prevailed, and "governing by doing nothing, recuperating and recuperating" became a national policy, and later Confucianism began to prevail during the time of Emperor Wu of the Han Dynasty, and gradually settled in one. During the Sui and Tang dynasties of the Six Dynasties, Taoism and Confucianism were promoted simultaneously, and sometimes Taoism prevailed.

After the Song Dynasty, the science of science played a dominant role in the ideology of the upper strata of society for a long time. Science takes Confucianism as the surface, Buddhism as the inside, and melts the three in one furnace.

Since modern times, Chinese culture has been impacted by Western culture, and Chinese traditional culture has also achieved new forms and added new contents. In traditional Chinese culture, Taoism and Confucianism occupy a pivotal position, and the combination of Confucianism and Taoism constitutes the basic core of traditional culture.

Ancient Chinese thinkers attached great importance to the problem of human beings, believing that there is a common denominator between people, that is, human nature, which is also morality. Lao Tzu believed that people should return to nature, like "babies", while Confucius explained human nature as "benevolence", Mencius as "benevolence, righteousness, propriety, wisdom", and Xunzi as "righteousness". Taoism emphasizes the nature of Taoism, small countries and widows, ruling by inaction, and believing that people are not virtuous; Confucianism, on the other hand, emphasizes that the ultimate goal or value of human beings lies in the self-practice of moral personality, and extends from personal morality to family, society and the country.

And so on and so forth, and so on, all of those things that are on the list actually seem to have an impact on the entire East Asian cultural circle.

Huaxia, Nanxian and Fusang all have their own historical and cultural traditions, but they are closely linked, especially Chinese culture has a great influence on Nanxian and Fusang. In modern times, Fuso's economy took the lead in development, and under the guidance of the erroneous expansionist policy, it launched a war of aggression against China in the first half of the 20th century, and all three countries suffered great trauma. In June 1965, diplomatic relations between Nanxian and Fuso were normalized. In 1972, China and Japan also normalized diplomatic relations. In 1992, China and South Korea established diplomatic relations. The economic and cultural exchanges between the three countries have become increasingly close, and they have made great contributions to peace in East Asia and prosperity in the world economy.

This kind of influence is especially obvious in the cultural field, just like the comic industry in Fusang, there are countless classics, and classics emerge in endlessly, but if you carefully interpret them, there seems to be nothing in these classic works, in fact, there is a shadow of Chinese culture.

The various behaviors of Nanxian people in their daily lives are also full of the shadow of China, so it is absolutely not wrong for Cameron to ask Yang Mingjue to study the movies of the two countries, because the three are one. It's just that Huaxia is the ontology, and Fusang and Nanxian are the branches that are separated.

It's time to talk about Nanxian's films.

Along with Korean dramas and plastic surgery, it has been many years since Hallyu "invaded" China. A few years later, Professor Du of "Little Shenyang with a Face" has been entrenched in our TV, Internet, and bus stops for almost a whole year. And a few years ago, a "My Sassy Girlfriend" gave ordinary audiences in my country the super popularity of Nanxian movies for the first time.

Everything seems to remind us of the fact that this country of 49.8 million people has grown so impressively in recent years, that they have won critical acclaim and box office from local audiences, that they can confidently rival Hollywood blockbusters in an open film market, and that they are trying to pry the purse and Chrysostom of more consumers in other countries and regions. However, every film with "tens of millions of moviegoers" is not easy to complete, and behind it is the century-old film history of Nanxian. It is also a hundred years of film history, and it is also developing rapidly, perhaps a brief examination of the development process of Nanxian films, we can also be a little inspired, and then more accurately see the development direction of Chinese films.

Nanxian films, which began in 1903.

In 1903, the documentary "Movie Projector" imported from France was screened in Nanxian, and the film officially entered Nanxian. In 1910, Korea was occupied by Fuso, and films, newspapers, etc. began to be tightly controlled, which led to the birth of Namxian and Korean films relatively later than other countries. On October 27, 1919, "The Revenge of Righteousness" co-produced by Kim Tao San and national capitalist Park Seung-bi was released. This is the first film independently shot by Nanxian people, marking the official birth of Nanxian local films. In 1926, 25-year-old Luo Yunkui's "Arirang" was released. This landmark work, which is full of Nanxian national characteristics, opened the silent film era of Nanxian. Driven by the film, from 1926 to 1930, Nanxian made many silent films that vaguely expressed anti-Japanese sentiments, and this period is known as the "first golden age" of Nanxian films.

From 1930 onwards, the Fusang people intensified their censorship of Nanxian films again, and the number of Nanxian films created fell sharply from more than 10 films a year to 2 or 3, and the market was occupied by Fusang and European and American films. In 1935, the first sound film in the history of Nanxian films, "The Legend of Chunxiang", was released, but soon entered the long Korean War of Resistance against Japanese Aggression and the Korean War.

In general, the Nanxian films, which were born during the war years, have developed extremely slowly and have not formed a complete industrial structure. As a colony, Nanxian's local films were strictly controlled and restricted in terms of content creation, and other foreign films had to be censored and screened before they could be entered, and most of them were used as tools for the colonizers' ideological propaganda and ideological transformation.

It was not until July 27, 1953, when the Korean War finally officially ended, that the situation in Namxian stabilized, and the government began to formulate policies to stimulate the film industry. In 1954, the Syngman Rhee government issued the "Exemption Measures for the Admission Tax of Domestic Films", which exempted the business tax on the screening of domestic films in theaters, which was the earliest film revitalization policy in Nanxian. In 1959, the government issued the "Incentives and Compensation Measures for Domestic Film Production" to reward a certain number of foreign film import rights to the production companies of outstanding domestic films that won awards at film festivals and received a good response from the audience.

On the one hand, the post-war social stability and economic recovery, and on the other hand, the government's relevant policy stimulus, as a result, the production of Nanxian films increased rapidly from 55 to 59 years. This shows how much the policy has an impact on the film industry.

However, since 1960, the Nanxian government has directly imposed control on imported films, and there is no need for tax exemption incentives for domestic films, so the "domestic film admission tax exemption measure" has been abolished. In 1961, Park Chung-hee launched the "May 16" coup d'état, and after coming to power, he ruled with an iron fist to promote economic and social development, and the film industry was no exception.

In 1962, Nanxian promulgated the first "Film Law", which incorporated film into the national administrative system and industrialized it under the leadership of the state, and revised it three times in 1963, 1966 and 1970. The main purpose of the Film Law and its first three amendments was to strengthen the government's control over films, which directly led to the restructuring of the Nanxian film industry chain and the formation of a new industrial structure, and stimulated the rapid increase in the production of domestic films in Nanxian – of course, the quality did not soar as the quantity.

All in all, after the end of the war, the censorship of Nanxian films in terms of content creation was stricter, only this time the censorship did not come from the colonizers and invaders, but from the domestic government. In terms of the film industry, the government has introduced a series of policies to try to promote the development of the industry, but the results are not satisfactory. However, due to the fact that TV dramas were not yet developed in the 60s, the means of entertainment were quite simple, and watching movies became the main entertainment activity of the people. From 1961 to 1969, the number of screens increased from 302 to 659, the number of movie views per capita increased from 2.3 to 5.6, and the average ticket price increased from $0.58 to $1.04. All in all, despite the difficulties in reality, Nanxian films have ushered in a comprehensive recovery, and it is for this reason that this period is called the "second golden age" of Nanxian films.

Nanxian film has developed to today's revitalization state and has gone through a long history. At the beginning of 1900, Nanxian films were mainly released in the form of short films, and corresponding short film theaters were also formed. In the 50s and 60s after that, smash hits such as "Barefoot Youth" represented by young movie stars such as Shen Xingyi and Yan Yinglan were the hallmarks of that era.

It wasn't until the 70s that television entered the common home, and the film industry officially entered a period of decline. However, during this period, there were still best-selling films depicting young people's love stories, such as "The Hometown of the Stars" and "The Winter Girl".

But in any case, Nanxian films, which had struggled to recover after the "second golden age", encountered great difficulties in the 70s. Not only do you have to deal with the frenzied snatching of viewers by the television, but you also have to find a chance of survival under the forced intervention of the military dictatorship. The lack of active competition among government-controlled studios, which produce domestic films only to gain import quotas for foreign films, has led to many films being reduced to government propaganda or low-grade jokes. In just 6 years, the per capita number of movie views has dropped sharply from 5.3 to 1.8, which cannot but be said to be a huge crisis.

It was not until the beginning of the 80s that Nanxian society finally began to usher in democratic liberalization, and the voices calling for the liberalization of film regulations became louder and louder. In 1984, the fifth revision of the Film Law was implemented, and the much-criticized preferential monopoly structure was finally broken, the film market was completely opened, independent and small production companies were given development opportunities, and the volume of film production began to increase steadily. Since then, the Nanxian film industry has changed from a monopoly structure to free competition. In 1986, the Sixth Amendment to the Film Law was implemented. The significance of this amendment is even more significant: film "censorship" has finally been abolished, and filmmakers have been granted the long-awaited creative freedom. Under the general trend of free trade and the pressure of trade with the United States, the Nanxian government decided to completely open the film market to foreign countries, abolish the "import quota system", completely liberalize film imports, and allow foreign film companies to directly distribute films in Nanxian. At the same time, the "incentive and compensation measures for domestic film production" were also abolished, but the "screen quota system" for theaters and theaters to "screen domestic films for at least 146 days a year" is still retained as the only remaining domestic film protection policy.

In short, Nanxian films have officially entered the era of openness.

It was also from this period that the Nanxian film industry began to revivenation. Successive awards at international film festivals have enhanced the international reputation of Nanxian films. "TheSuppogateWomb" directed by Lim Kwon-taek won the Best Actress Award at the 44th Venice International Film Festival, and "WhyHasBodhi-DharmaLeftfortheEast?" directed by Bae Yong-gyun won the Best Work Award at the 42nd Locarno International Film Festival. In the 90s, Lin Quanze's "Western Toilet System" won the Best Director and Best Actress Awards at the 1st Shanghai International Film Festival.

After the 90s, Nanxian films were out of control, classics were frequent, and they won awards in the global film market, which was the golden age of Nanxian films in the true sense and the highest peak of the development of Nanxian films.

Even to this day, Nanxian Films has a place in the global film market. It can even be said that in terms of quality, Nanxian films are no less than Fusang films, Fusang films are good at family carnival genres, good at animated films, gorgeous pictures and compact plots;

But in any case, for Yang Mingjue, who is aspiring to become a well-known director, both sides have things she needs to learn and can learn, but how to learn and how to apply what she has learned is really a super big topic.