Since the 90s of the 20th century, with the rapid development of world economic integration and information dissemination industry, globalization has become the core discourse of our time. Globalization acts not only as a discourse but also as a driving force, acting on the politics, economy and culture of countries around the world, providing opportunities for mutual exchange. However, due to the uneven political, economic and cultural development of various countries, the global pattern based on the mechanism of "free market and fair competition" is actually an unfree and unfair world system. Fundamentally speaking, globalization is the use of strategies such as capital export and information media technology by Western powers led by the United States to dismantle any heterogeneous culture that tries to maintain its own uniqueness, and then complete the process of "homogenization" of world culture. As the American cultural critic Jameson has argued, for many of us, the real problem with globalization is the standardization of world culture. The deep anxiety that American television, music, and movies are replacing everything else in the world is that the way of life of a particular race/ethnicity will be undermined in this cultural standardization process. 4393630 in the context of globalization, driven by the economic, political and cultural advantages of powerful countries, Chinese film and television culture is encountering unprecedented challenges. With the help of the comprehensive national strength of the United States, Hollywood films have had a profound impact on Chinese film and television culture while gradually occupying the global market. In recent years, in order to cater to the international mainstream market with the United States as the main body, Chinese film and television creations have invariably moved towards national nihilism, generally lacking sincere care for local realities and cultural traditions, and often unsatisfactory in the improvement of aesthetic spirit. Therefore, in the postcolonial context of globalization and cultural imperialism, a strong sense of survival of national film and television culture has become increasingly prominent. "National subjectivity", as an effective force to counter cultural power, should become the basic position of Chinese film and television culture construction, and become the cultural foundation of contemporary Chinese film and television transnational imagination and globalization practice. However, the current globalization practice of Chinese film and television culture is actually at the expense of the spirit of national subjectivity. The pursuit of American taste, the worship of technocracy, and the surge of pleasure philosophy have become a common pattern in the field of Chinese film and television culture. In particular, some commercial blockbusters with "world cinema" ambitions are obscuring and rewriting the national identity and cultural memory of Chinese film and television in the Western/American-centric cosmopolitan pattern. In order to cater to the audience, some only stay in the display of the dark side of human nature such as pornography, violence, intrigue, betrayal, and revenge, and lack the basic dimension of aesthetic transcendence. The scarcity of noble character and the scarcity of heroic characters became cultural pathologies under the role of film fetishism. In the paradox of globalization demands and national anxiety, Chinese film and television have encountered development difficulties in the multiple dislocations of business and art, industry and culture, modernity and tradition, technology and humanities. The identity crisis and development dilemma of Chinese film and television culture are, in a sense, the projection and representation of social problems in the process of globalization and social transformation. The arbitrariness of cultural imperialism, the popularity of consumer entertainmentism, the paranoia of modern scientific and technological rationality and the rigidity of state ideology have made Chinese film and television creation consciously or unconsciously banish the bloodline ties with its own ethnic group and history, and inevitably move towards national nihilism, cultural consumerism and scientific and technological rationalism. In the process of globalization and social transformation, China's film and television culture is contradictory and fragile. Tempted by the philosophy of commercial pragmatism, Chinese film and television creation has increasingly deviated from the value of film and television as art, and for most filmmakers and investors, the desire to make money through film far outweighs the urge to express an aesthetic ideal through film. The transcendent spiritual pursuit and metaphysical humanistic care gradually gave way to the naked love and pursuit of money, and the entire film environment was permeated with a strong atmosphere of money worship. And the rapid growth of the box office undoubtedly contributes to this atmosphere. When film materialism flourishes, it may be the time when the spirit of film art returns. After all, as a special commodity, movies are not only about the industry and box office, but also about humanity and the heart. Only those films that can enter the audience's inner world, question human nature and meaning, and highlight the dignity and freedom of life can truly win the love of the audience. Therefore, returning to local reality and the humanistic nature of film as art will be a roundabout way for Chinese film and television to cope with where to go after the "boom". When the audience's audiovisual senses are shocked by the spectacle on the screen again and again without a sense of novelty, it is also an opportunity for Chinese films that advocate technology to change their course and return to simplicity. In recent years, the aesthetic changes that have quietly occurred in the field of Chinese film and television culture, from "spectacle" to "reality", have provided new possibilities for the development of Chinese film and television. In particular, some small and medium-cost comedy films may become the aesthetic mainstream of film and television culture in the consumer era. Although Chinese "martial arts films" that once successfully entered the international mainstream market have encountered development bottlenecks at home and abroad for various reasons, the well-known "Chinese martial arts" will continue to become the main element of Chinese films entering the international market. Borrowing from traditional Chinese film theory and combining film creation practice to construct a genre theory of martial arts films is not without benefits for guiding the creation of martial arts films and promoting Chinese films to better "go global". It should be said that Chinese film and television is not only a geographical concept, but also a cultural concept. A healthy film and television ecology must be based on the value orientation of culture first and culture first. Only by defining and understanding Chinese film and television from the perspective of cultural attributes, highlighting its cultural identity and subjective consciousness, can Chinese film and television get out of the current predicament and realize the transnational imagination in the true sense. Therefore, it is not wise to mechanically copy Hollywood and blindly pursue American tastes. In fact, what we need to learn from the United States is not techniques and forms, but strive to cultivate a society with film culture and cultivate its own unique film and television culture like the United States. National, but also world. If national art wants to stand tall in the world art forest, it must have its own unique cultural style. To compete with Hollywood, excellent Chinese filmmakers do not make "Hollywood-style" films to cater to the audience, but must find a way to make films that "Hollywood can't make", that is, films with deep Chinese cultural heritage, reflecting Chinese's daily life and customs, while at the same time losing "universal values". The most important thing in movies is story and feelings, not technology and scenes, and vivid stories from human history or real society are often more infectious than flashy spectacles. The 5,000-year-old Chinese civilization has given birth to the unique humor and wisdom of the Chinese nation, and telling the stories of the nation and telling the good stories of the nation in an international common language is an effective way for Chinese film and television to go to the world in the era of globalization. Telling the "story of the nation" should not be narrowly understood as a visual spectacle showing the sick habits of the East to the Western world, and the national nature of film and television works must contain the survival wisdom of the nation and its important contribution to human civilization; The brilliance of human nature, lofty integrity, and deeply touching "universal" emotions are transnational narratives carried out with a global mind. Chinese film and television creation should rely on vivid national stories, through writing national cultural experience, insight into human existence, and express human ideals and emotions. Only when the film begins to pay attention to and question the meaning and value of human existence, its national nature, national spirit, and national characteristics are meaningful, and are naturally reflected in the world of film in the process of the creator's sublimation of his own survival experience. The current globalization represents a new era in human history, and globalization and localization, cosmopolitanism and nationality should constitute a new intertextual relationship. Globalization should be a dialogue with the world, a cultural exchange between peoples and places. Although this is not yet the case, Chinese film and television culture has a responsibility to work to promote the realization of this vision of human harmony. Based on local reality and rooted in national traditions, taking film and television as the aesthetic ideal of art to balance the money worship, hedonism and nihilism guided by consumer rationality and commodity logic, leading Chinese film and television creation back to the humanistic road of cultural ethics, has become the proposition of the times in the construction of contemporary Chinese film and television culture. And this is no longer a change in specific techniques, but a diligent pursuit of spirituality and culture. Based on the background of globalization and the context of postcolonialism, this book intends to base on the background of globalization and post-colonialism, through a comprehensive analysis of the current situation of China's film and television culture ecology, starting from the internal and external factors of the development of Chinese film and television culture and the Chinese and foreign environment, trying to clarify the root causes of the identity crisis and cultural weightlessness of Chinese film and television culture, and finally solve the ideological problems of national nihilism, technocracy and hedonism, promote the healthy development of China's film and television cultural industry, and maintain the balance of human cultural ecology as the ideal demand, according to the ideal appeal of "asking questions→ analyzing problems → solving problems of logical ideas, expand the discussion. Therefore, this paper studies the actual situation of Chinese film and television culture, distinguishes the tension between globalization and ethnicity, discusses the challenges and opportunities faced by the development of Chinese film and television culture, explores the internal mechanism of the healthy development of Chinese film and television and the path and strategy of globalization practice, explores the impact of the national construction of Chinese film and television culture on the construction of multicultural space and ecological harmonious society, and finally obtains an ethical attitude and national position in the face of cultural globalization, which has become an inescapable problem in the book.（AI翻译）