21世纪，文化软实力日益取代政治、经济和军事等硬实力成为国家和地区之间竞争的焦点。电影不仅是一种文化传播的载体，更是国家软实力的重要组成部分。中国电影国际影响力是中国电影界、学术界和文化界共同关心的时代命题，更是新时代中华民族伟大复兴的文化使命。中国电影要成为国家文化软实力战略的重要载体，必须具备国际传播影响力和吸引力，这也正是本文研究的价值所在。 本文主要研究2000年至2016年期间，以中国电影获奖的13个国际A类电影节为主要平台，以139部次获奖中国电影以及199个所获奖项为研究对象，采用了资料分析法、数据统计分析法、电影文本分析法等方法进行基础分析、数据分析、类型分析、题材分析和案例分析，总结分析国际A类电影节获奖中国电影的中国电影、文化和艺术的国际传播特点，发现自身文化艺术优势，思考获奖中国电影文化国际传播中存在的问题，为打造中华民族伟大复兴的中国电影文化强国提供国际传播策略。 本文共分为五章。第一章论述了国际A类电影节是中国文化国际传播的重要平台，主要包括三个方面：一是说明国际A类电影节的产生、价值、作用以及影响，说明欧洲、亚洲、美洲和非洲等世界四大洲的15个国际A类电影节的产生发展、特点、宗旨、评选标准以及意识形态的影响等；二是分析国际A类电影节对世界以及中国电影国际传播的影响；三是回顾国际A类电影节获奖中国电影的三个主要历史阶段，分析总结各个历史时期获奖中国影片对中国电影国际传播的影响。第二章论述了获奖中国电影是中国文化国际传播的重要载体和渠道，主要包括两个方面：一是获奖中国电影体现国际传播影响力和文化融合；二是不同地区获奖中国电影反映国际传播和文化融合的复杂性，欧洲、亚洲、北美洲和非洲等四大洲各个国际A类电影节获奖中国影片不同，既反映了中国电影国际传播影响力不同，也反映了文化融合的复杂性。第三章分析了获奖中国电影国际传播的文化核心内容的特征，主要包括三个阶段：一是八九十年代第五代导演创作出了一批获奖电影，如《黄土地》《红高粱》《菊豆》《大红灯笼高高挂》《霸王别姬》等，传播的是民俗乡土中国文化；二是新世纪以来新生代导演创作出了一批获奖影片，如《三峡好人》《白日焰火》《图雅的婚事》《可可西里》《盲井》等，传播的是底层平民叙事的中国社会变迁文化；三是前两个阶段获奖中国影片虽然展示中国民族艺术和新世纪中国社会的巨大变化，都没有反映出优秀中国传统文化精髓和改革开放后的巨大成果。进入新时代，中华民族伟大复兴呼唤正能量的中国文化传播。第四章分析了获奖中国电影国际传播的艺术表现形式的特色，主要体现在四个方面：一是体现中华传统文化思想；二是表现东方艺术特色；三是展现东方女性主义特点；四是呈现中国现实主义特色。第五章对获奖中国电影国际传播存在的问题进行思考并提供相应的策略，主要包括两个方面，一是获奖中国电影文化国际传播中存在的问题思考，不足之处主要表现为获奖中国电影中华文化正面传播长期缺失，获奖中国电影故事叙事乏力，获奖中国影片类型不均衡和题材单一，缺乏针对发展中国家电影节的文化发展战略。这些问题都会影响中国电影文化的国际传播，进一步提升中国电影国际影响力，探索提高中国电影文化传播的对策，需要思考和亟待解决。二是为了实现中华民族伟大复兴，需要设计和实施中国电影文化强国的国际传播策略。弘扬中国文化，展现文化强国的形象；改善中国电影的叙事方式，讲好中国故事；加强中国电影类型和题材的多样化发展，丰富中国电影的类型和题材；制定针对发展中国家电影节的文化发展策略，为中国电影和中国文化国际传播提供理论依据。

In the 21st century, the increasingly soft power of culture has replaced the hard power such as politics, economy and military and become the focus of competition among countries and regions. Film is not only a carrier of cultural communication, but also an important part of the country's soft power. The international influence of Chinese film is a time proposition of common concern to Chinese film, academia and cultural circles, and a cultural mission of the great rejuvenation of the Chinese nation in the new era. To become an important carrier of national cultural soft power strategy, Chinese Film must have the influence of international communication and attractiveness, which is the value of this study. This paper mainly studies 13 international Class A international film festivals which Chinese films got awards as the major platforms, 139 awarded Chinese films and 199 awards from 2000 to 2016as the research object, using material analysis method, data statistical analysis, movie text analysis and other methods for basic analysis, data analysis, type analysis, theme analysis and case analysis. The paper analyzes the characteristics of culture and art of international communication of Chinese film, which win the prize of Class A international Film Festival, and finds out the advantages of their own culture and arts, think about the problems in awarded winning Chinese Film in international communicationof Chinese culture, and provide the strategy of international communication for the powerful Chinese film culture nation that will create the great rejuvenation of the Chinese nation. This paper is divided into five chapters. The first chapter expounds that Class AInternational Film Festival is an important platform for the international communication of Chinese culture. It includes three aspects. First, it explains the birth, value, function and influence of Class AInternationalfilm festival. It shows the emergence, development, characteristics, purposes, selection criteria and ideological influence of 15Class A international film festivals of Europe, Asia, America and Africa in the world; secondly, analyzes the impact of Class A international film festivals on the international communication of world and Chinese films; thirdly, reviewing the three major historical stages of winning Chinese films in the Class A international film festivals, this paper analyzes and summarizes the influence of Prize-winning Chinese Films in Various Historical Periods on the International communication of Chinese films. The second chapter discusses the award-winning Chinese film is an important carrier and channel for the international communication of Chinese culture, mainly includes two aspects: First, the award-winning Chinese film reflects the influence of international communication and cultural integration; Second, the award-winning Chinese film in different regions reflects the international communication and The complexity of cultural integration, which differs from the award-winning Chinese films of Class A InternationalFilm Festivals on four continents in Europe, Asia, North America and Africa, not only reflects the different influence of international communication of Chinese films and the complexity of cultural integration. The third chapter analyzes the cultural characteristics of the international communication of award-winning Chinese films, which mainly includes three stages: first, the fifth generation directors in the 80s and 90s created a number of award-winning films such as “Yellow Earth”, “Red Sorghum”,” Red Lantern hanging high”, “Farewell My Concubine” and so on, is the international communication of folk Chinese culture; second, the new century directors of the new generation had created a number of award-winning films, such as "Three Gorges", "Fireworks" Tuya's Marriage, "" Hoh Xil "," Blind Well "and so on, which spread the culture of social change in China on the margins of the bottom civilians. Thirdly, the award-winning Chinese films in the first two phases failed to reflect the essence of excellent Chinese traditional culture and did not reflect the reform in China and the tremendous achievements since the opening up. Nowthe new era is coming, and the great rejuvenation of the Chinese nation calls for the cultural communication of positive energy. The fourth chapter analyzes the artistic characteristics of the international communication of award-winning Chinese films mainly in four aspects: one is to reflect the Chinese traditional culture; the second is to show the oriental Oriental art features; the third is to show Oriental feminism; the fourth is to presentChinese realism. The fifth chapter considers the problems existing in the international communication of the award-winning Chinese films and provides the corresponding strategies, including two aspects. The first is the thinking of the problems in the international communication of the award-winning Chinese film culture. The inadequacies mainly include the award-winning Chinese filmslong-term lack of positive cultural communication, award-winning Chinese film narrative fatigue, award-winning Chinese film types are unbalanced and the subject is single, lack of cultural development strategies for international film festival in developing countries. All of these issues will affect the international spread of Chinese film culture, it need enhance the international influence of Chinese film, and explore ways to improve the international communication of Chinese film culture. These problems need to be considered and solved urgently. Second, in order to realize the great rejuvenation of the Chinese nation, there is a need to design and implement a strategy for the international communication of Chinese film culture power. To promote Chinese culture and show the image of a cultural power; improve the narrative style of Chinese films and tell a good story of China; enhance the diversified development of types and themes of Chinese films; enrich the types and themes of Chinese films; and formulate a development strategy of culturefor international film festivals in developing countries. The study is to provide a theoretical basisfor the international communication of Chinese film andChinese culture.