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The guests were discussing actively.
Five foreign film institute leaders discussed the cinema’s role in introducing culture and tradition to local and international audiences at yesterday\'s ongoing 2016 Shanghai International Film and TV Festival.
The representatives from Estonia, India, Egypt, Georgia and the United States also discussed promoting national cinema overseas at the Shanghai event\'s 赌博appORUM on World Cinema.
Magda Wassef, president of Cairo International Film Festival, said Egyptian films were very popular in Egypt, people frequently go to the cinema and the box office is increasing. But while the domestic market keeps expanding, fewer Egyptian films are released overseas.
“The Egyptian film market is relatively closed and domestic, and mainly focuses on Arab movies and American movies,” she said.“From the beginning, the Egyptian cinema adopted the American model which helped us to reach a broader market, especially the entire Arab market.”
Maya Tchilashivili, first deputy director of the Georgian National Film Center, spoke about her country\'s movies which are lesser-known to international audiences.
“Georgian movies are very interesting for other nations as well. We are here to explain our culture, identity to other nations,” she said.
The Georgian National Film Center aims to support and finance Georgian film production, film festivals and educational projects and is mostly focused on financing art house movies.
Anu Rangachar, head of JioMAMI Mumbai Film Festival\'s international program, explained the unique landscape of India\'s national cinema. The market consists not only of Bollywood Indie movies but also films in each region\'s own language and culture. The domestic market in each of these regions is very strong, Rangachar said.
The JioMAMI Mumbai Film Festival promotes cinema in both India and western countries, and screens more than 200 films every year. The festival has two sections, one for Indian cinema and one for world cinema.
“World cinema is a window into understanding other cultures,” she said.“As long as it’s cinematic and has emotional characters, it’s like music, which has no language,” Rangachar added.
James Yantao Su, chairman of EDI Media Inc. and president of the Chinese American Film Festival, stressed the idea that Hollywood movies do not belong to America as real American movies are independent productions.
Co-production has become one of the main methods for national cinema to go on the world stage, Mr. Su said.
Tiina Lokk-Tramberg, festival director of Black Nights Film Festival in Estonia, talked about the rise of Estonian cinema since the 1990s when Estonia was mainly a theatre market rather than a cinema market.
She said that at the beginning of the 1990s, the Estonian cinema cooperated mainly with countries like Finland and Sweden, but now works more with other countries.
“At the beginning, co-production was a big fear. But I think there are good examples that co-production helps movies to be more universal,” she said.
The Cairo festival\'s Wassef agreed that co-production was one way to open the market. Egypt collaborates, she said, with many countries to produce movies. But Egyptian audiences do not easily accept co-productions because receiving overseas investment may result in making concessions.
Su summarized three phases Chinese cinema needs to go through to become global. The first is to tell Chinese stories with Chinese characters, the second is to make co-productions with a Chinese culture background, and the third is when the Chinese film industry is more confident and capital takes the lead.
“The global village of cinema is about utilizing everyone’s wisdom and capital to tell every nation\'s stories to everybody,” he said.