Janet Yang, president of the Academy of Motion Picture Arts and Sciences, recently discussed China's growing cultural impact and expressed optimism about cultural exchange between China and the United States.

Janet Yang, president of the Academy of Motion Picture Arts and Sciences, speaks at a forum during the 15th Beijing International Film Festival, Beijing, April 19, 2025. [Photo courtesy of BJIFF Organizing Committee]

Yang, the first Asian American president to lead the film academy, is currently attending the 15th Beijing International Film Festival, which opened on April 18. The nonprofit academy behind the Oscars remains the world's premier organization for film artists with nearly 11,000 members.

The New York-born producer and daughter of Chinese immigrants has long been a significant figure in Hollywood's Asian American community. Her career rose to prominence through her collaboration with Steven Spielberg on "Empire of the Sun," which was filmed in Shanghai. Her subsequent film and television credits include "The Joy Luck Club," "The People vs. Larry Flynt," "Dark Matter" and "Over the Moon."

"My personal and professional experiences tell me that film has a unique power to bring people together," she said at a forum during the film festival on April 19. "That is why I remain perpetually optimistic about cultural exchange between not only our two nations, but among everyone everywhere in the world."

She explained global film collaboration matters because filmmaking is inherently collaborative. Exchanging ideas and techniques enriches creativity and builds universal narratives that drive economic success. As new technologies break barriers, cross-border collaboration becomes indispensable.

"Strategies in today's competitive market for Chinese filmmakers with such a rich cultural legacy, embracing collaboration with international artists, particularly those with an interest in the culture, have amplified Chinese storytelling and created significant financial opportunities. In essence, global collaboration is both a pathway to cultural innovation and a strategic economic advantage that benefits us all," she said.

Yang noted audiences now strongly respond to original, emotionally true and culturally specific stories, citing "Parasite," 2020's historic non-English Oscar best picture winner, and this year's winner "Anora," a small, intimate film with deep humanity. Asian diaspora stories are also gaining major award recognition, she observed, with films like "Everything Everywhere All at Once" — a Chinese American independent absurdist sci-fi comedy-drama — winning seven Oscars including best picture in 2023. Independent Chinese cinema, such as Guan Hu's "Black Dog," which was nominated for a film independent spirit award after its Cannes premiere, proves budget constraints do not limit humanistic force.

"These films prove that audiences don't need to fully understand the culture to be moved by it," she said. "For Chinese filmmakers, this is an amazing opportunity to go global, to get films out into the international marketplace."

Yang's own journey stands as a powerful testament to the value of film as a cultural bridge. She recalled how a 1972 trip to China, where she witnessed her parents' emotional reunion with relatives after 35 years apart, inspired her to study Chinese and later work in Beijing. Immersed in Chinese cinema, she found stories that helped shape her identity and career path. She launched her career by running North America's first Chinese film distribution company, bringing fifth-generation cinema to Western audiences. She facilitated the making of "Empire of the Sun," and continues to help forge bonds between Hollywood and China. Following China's rapid cinematic rise after the 2008 Olympics, she pioneered U.S.-China film summits and co-productions like "Shanghai Calling" and a localized "High School Musical" adaptation.

She noted challenges confronting world cinemas, including lower box office numbers following the pandemic and the new realities of artificial intelligence. While recognizing AI as a powerful tool, she warned of potential risks like job losses and films becoming technically proficient but emotionally hollow.

"Too often, decisions in our business are driven by profit rather than cultural value. We absolutely need a healthy industry to sustain the art form. We also need to protect what makes cinema meaningful — its ability to move us, to challenge us and to reflect our shared humanity," Yang said.

The president noted that millions of overseas Chinese long to see their culture reflected and better understood worldwide. "I believe the world is beginning to listen," she said. 

Just this past year, remarkable signs showed China's culture gaining global momentum — from the success of video game "Black Myth: Wukong" and adaptations of "The Three-Body Problem" novel to the record-shattering achievement of animated movie "Ne Zha 2" — demonstrating the country's growing cultural influence. Social platforms like TikTok, Xiaohongshu and IShowSpeed's recent livestreams in China further showcase Chinese life, while AI tools like DeepSeek extend this reach.

"This phenomenon alone has become a powerful cultural moment in its own right — a terribly exciting milestone," she said. "These are all signals of something larger. China's cultural voice is rising. It's claiming its rightful place on the world stage."