Abstract: In recent years,  with the academic boom of establishing Chinese schools of film studies, voices advocating the “linguistic turn” of the nationalization of Chinese film studies have arisen, putting forward the notion of “Chinese film convention” represented by such concepts as the primary and secondary shot/reverse shot, cross the line, the “subject/object” composition, which bear the evaluation (anti-addiction) function. From the perspective of practical poetics and the China-West comparative perspective, “film convention” is seriously defective in terms of heterogeneity and unconvincing in terms of  consciousness and group application. Still more importantly,  it loses its “Chinese traits” in expressions. Therefore, we should distinguish Chinese and western film aesthetics from the perspective of cultural essence instead of the functional perspective of addiction/anti-addiction or evaluation/non-evaluation, and construct a nationalized film form, or in other words, “film forms with Chinese traits”.

Key words:  film language, nationalization, Chinese film convention, film forms with Chinese traits