Awarding Chinese-Language Cinemas: Imaginary Transnational Identities of the Golden Horse Awards

Abstract

Frequently referred to as the “Chinese Oscars,” the Golden Horse Awards, held in Taiwan annually since 1962, accept submissions from various Chinese-speaking countries despite China’s suppression of Taiwan. This article reveals that the transnationalism of the Golden Horse Awards has been influenced by the cross-border tendency of early Chinese cinemas, the political turmoil of the past six decades in Taiwan, and the shifts in Chinese-language film industries in East and Southeast Asia under the influence of neoliberal globalization. It examines how the Golden Horse Awards have transformed from a tool of state ideology during the Cold War into an evaluating system that aims to promote both the global image of Taiwan and the artistic values of Chinese-language films in a broader sense. Drawing on theories from film festival and transnational cinema studies, this article further compares the Golden Horse Awards with the Cannes Film Festival to demonstrate the ways in which both festivals culturally legitimize local “national” cinema while aligning with transnational cinemas to counter larger film hegemonies. I bring the research up-to- date by examining the challenges the Golden Horse Awards have faced since China withdrew from the competition following political controversy at the 2018 ceremony. By focusing on how the Golden Horse Awards function both as a physical and an imaginary site that embodies the ambivalence of the umbrella term “Chinese-language cinemas,” this article sheds light on broader complex issues of national identities, globalization, and transnational cinemas in film awards studies.