On the dilemma and breakthrough of ethnic minority film culture expression with the production of Thangka and Genghis Khan as examples: discretion, inheritance and unrestrained imagination

Abstract

Ethnic minority films account for a significant part of the Chinese film industry. Since the establishment of the new China, Chinese ethnic minority films have gone through three stages. In the beginning of the new century through today, when tremendous changes have taken place in film ecology and production situations in the context of globalization. In this stage, the ethnic minority film is no longer a propaganda tool but instead has become an integral part of multiculturalism in a global context. The antiespionage theme, folk tales, and industrial and agricultural construction themes have no successors; the self-examination and root-seeking themes are also no longer favored by producers. Thus, ethnic minority films have almost lost their competitiveness in the cinema chains and their ability to win the attention of mainstream viewers.