"Culture is an important force for the survival and development of the nation, and film and television art is a complex of time and space, playing a unique role in popularizing culture, spreading value, and nourishing the soul," said Hu Zhengrong, vice-chairman of China TV Artists Association. Experts and artists from the cross-Straits, Hong Kong and Macao regions in the field of film and television art have gathered in Taiwan with the high respect for the outstanding Chinese traditional culture and the beautiful expectations of the continuity of the Chinese culture.

　　More than 120 film and television artists, experts, scholars and practitioners from across the Taiwan Straits have convened in Taiwan to participate into the 10th Art Forum of Cross-Straits, Hong Kong and Macao Region, and the 7th Cross-Straits Television Arts Festival, discussing about the Chinese traditional culture and the development of modern film and television art industry.

　　Wang Weijiang, President of Taiwan Visa and Audio Production Association said that, in the face of global competition in the 21st century, the Chinese people across the Strait, Hong Kong and Macao must accomplish the due work in cultural development and promote the advancement of cultural and creative industries. With the theme of film and television, the event have brought together elites and scholars from across the Taiwan Straits, Hong Kong and Macao to strengthen the integration of film and television content, culture and art. With more complete and perfect film and TV techniques, it shall showcase the style and content of traditional culture and lead the audiences to appreciate the beauty of Chinese traditional culture and art.

　　Jiao Xiongping, professor of film department of Taipei National University of the Arts, told reporters that cross-Straits, Hong Kong and Macao film and television cooperation has ushered in a new golden age, which can be shared in terms of creative talents, international experience, capital, and market. Mainland movies are relatively heavy, sometimes lacking in delicate personalities. However, Taiwanese films are full of relaxed personalities, but sometimes lacking social and historical care, which may complement each other in cross-Straits cooperation. At present, the mainland's capital and market can provide Taiwan artists with much room for maneuver, and island's long-term accumulated artistic experience and technology can promote the development of the mainland film industry. The cooperation cross the Straits, Hong Kong and Macao can create a wonderful Chinese culture in the new century.

　　According to Tang Guoqiang, a mainland performing artist, Taiwan's protection of Chinese culture is remarkable, and the public can appreciate the historical film and television dramas quite well. He said that he was surprised that the works he starred in could cause a sensation in the island, which was due to the historical depth and practical significance of the writer Er Yue-he, only through which could the actors be familiar with the audiences.

　　Based upon the discovery by Xu Zidong, professor of the Chinese department of Lingnan University, some people from the publishing industry have summed up that the book can be sold more if there is a character of "Speak" in the title. The voice now takes more priority than the text, and it is more powerful to express through new media than to simply publish books. At present, the way people read books has changed, and those who engage in new media have to rely on traditional culture to express themselves. The most ideal status is a winwin situation. Nowadays, the highest level of culture is still the books, and the classical, but mobile phones are changing people's lives. It is an inevitable direction to move from reading to film and accepting carriers to mobile phones.

　　Wen Haojie, the screenwriter of the TV series Ordinary Worldand the new version of Water Margin told reporters that, from the TV drama classics since China's reform and opening up, we can find that the aesthetic needs of cultural thoughts in each era have made the works of the times. In the past, our aesthetic standards came from literature, but now it may come from film and television. In the context of the development of science and technology to promote the progress of new media and cultural platforms, playwrights should play due role in inheritance and creation. At present, the mainland TV series Like a Flowing River is most popular on both sides of the Straits. Some people consider it another Ordinary World, as the struggle in a difficult environment and the purity still move people.

　　According to Liza Wang, the chairperson of the Chinese Artist Association of Hong Kong and vice-president of the Association of Hong Kong Performing Circle's Development in Mainland, the Cantonese opera is a traditional art that can express the Chinese culture. In 2019, it was the 10th anniversary of the inclusion of the Cantonese opera in the World Intangible Cultural Heritage List. In addition to the promotion, inheritance and innovation of Cantonese opera performances, Hong Kong Cantonese opera performers also plan to introduce hundreds of operas from the mainland to Hong Kong. The Hong Kong Opera Centre plans to bring the traditional Chinese opera to Hong Kong, a stage for the exchange of diversified types of dramas. She hopes that the center will promote the further development of Cantonese opera.

　　Yu Zong xuan ,chairman of Macao Youth Creative Entrepreneurship Association, said that, in recent years, Macao has vigorously promoted diversified development, resulting in the active involvement in the cultural and creative industries by the local young people. However, comparing with the mainland and Taiwan, Macao still has a gap in this respect. The integration of Guangdong-Hong Kong-Macau Greater Bay Area is full of opportunities, competition and challenge. Macao will continue to learn from the cross-Strait and Hong Kong counterparts in order to achieve advancement.

　　Along with this event, the 4th Cross-Straits TV Artists Painting and Calligraphy Exhibition has been held simultaneously. Tang Guoqiang, Lu Qi, Liang Li and other mainland film and television performing artists joined hands with Yang Yan and other representatives of more than 20 Taiwanese artists to create works for on-site exchanges. In addition, the CrossStraits TV artist's paintings and calligraphy were arranged in the exhibition area outside the venue for the appreciation of participants.

　　Tang Guoqiang said that the art of painting and calligraphy is the treasure of the traditional culture of the Chinese nation and has a long history. The excellent traditional culture is the "source", the culture of the era is the "flow", the "source" is the starting point of the "flow", and the "flow" is the inheritance and development of the "source". Only by continuously injecting the genes of the times and drawing a variety of nutrients can the traditional culture of the Chinese nation flourish and remain unfading.

　　The event was organized by China Film Association, the Taiwan Visual and Audio Production Association and the Taiwan Cross-Straits Film Exchange Committee on the theme of "Transforming–Convergence of Traditional Culture and the Transformation of Innovation".

　　The Cross-Straits, Hong Kong and Macao Art Forum was founded in 2009. Since then, it has been held on both sides of the Straits, Hong Kong and Macao regions, providing a favorable platform for artists, experts and scholars to exchange artistic creation and deepen theoretical research and cooperation. Since 2012, the Cross-Straits Television Arts Festival has been held in many cities across the Taiwan Straits, playing a crucial role in strengthening cross Straits film and television cultural exchanges.

　　The development of Chinese film has experienced several stages in the past 100 years: First, the 1930s was the era of exploration, and Chinese filmmakers sought expression narrative and aesthetics suitable for China. For example, Angels on the Road combines various artistic styles, such as French poetic realism, Russian montage and German expressionism. Second, the 1940s was the time of wars. The escapism of the island and the homeland metaphor of the popular drama coexisted in the images, featuring the representative works such as Spring in a Small Town. Third, the national style was first tested from the 1950s to the 1970s. Mainland films try integrate the poetry and music into images, such as The shop of Lin Familyand February; Hong Kong's film and literature flourished with representative directors as King Hu and Li Hanxiang. Hu's works blended Peking Opera, landscape painting and other traditional Chinese culture, while Li made Chinese folklore, traditional opera and history of the palace story of the Qing Dynasty into films. In addition, Bruce Lee created a kung fu type movie at this period. And Taiwanese films concerning songs and dances, and love, were released from time to time. Fourth, in the 1990s, the crossStraits television circles began to integrate in terms of themes, and performers, and production crews etc., resulting in filming The Condor Heroes and The Legend of the Condor Heroes. Fifth, there were a lot of film and television cooperation in the 21stcentury amongst the mainland, Taiwan, Hong Kong and Macao, such as Crouching Tiger, Hidden Dragon and Hero. Nowadays, the Chinese films have ushered in a century of opportunities and entered a new golden age. At present, the Chinese film industry has become the world's second largest market. Some nontraditional resources, such as real estate, internet and funds are involved in this industry. Future reforms will develop more new types and conduct more international cooperation.

　　What is culture? Everything that emerged from life is culture. The clothing, food and shelter and transportation of people are all interspersed with the characteristics brought by time and space. This is culture. Means of film and television are the best carrier of cultural heritage. Some disappearing cultures can be reproduced by film and television, which is their advantages. However, the reshaping of traditional culture in film and television works requires deeper exploration. Broadly speaking, taking the essence is reshaping. Film and television is the mass media, most qualified to cause public discussion. In the film and television works, the director objectively presents the survival experience of some people in a certain time and space, reproducing the humanities, lifestyle, joys, angers and sorrows of that era. The audience understand the works subjectively, and the pertinent association is based on the personal life experience, thus achieving the purpose of cultural inheritance. When transplanting a classical work, there is an old saying that may be very inspiring, called "spare no effort in taking advantage of what one puts his hand on." In my opinion, it cannot be considered inheritance of the classical culture via just putting the plot on the screen. If the Three Kingdoms only presents the scenes of wars and slashing, if Water Margin is made into a gangster's revenge, it only focuses on the plot, without taking, the vast society and life in which the characters depend, so that they did not achieve the purpose of inheritance, losing the space for discussion.