The theoretical research and discourse production in Chinese films has long suffered from the hegemonic input of the Western theoretical discourse. This is mainly reflected in the conceptual naming of Chinese films. The naming has undergone changes such as “national cinema”, “Chinese-language cinema” and “transnational Chinese cinema”, most of which are appellations imported from the West.How, then, to establish an independent theoretical discourse in Chinese films? How to own the right to interpret the identity of the Chinese film in the world’s ideological jungle? Lastly, how to achieve a balance between “national” (internal) and “global” (external)? These questions have always troubled Chinese researchers, and in consequence have brought the conceptual debate on Chinese film to the forefront of a fierce struggle concerning discourse power in this field.The concept of “Huallywood film” and the construction of its theoretical discourse system may be regarded as an attempt to reform Chinese film research, an area that has long been governed by Western theoretical discourse. It aims at forming a new concept, a new theory, and a new discourse system that have been independently named by Chinese scholars. It has attracted the attention of many scholars from China as well as other countries, embarking on a reverse “theoretical journey” from East to West. In fact, it has become a research subject of far-reaching importance.Previous studies on the achievements of Huallywood film are usually literature reviews or bibliometric analyses. They contain only the description of phenomena in reviews and lists of research results, focusing on purely domestic achievements and generally lacking any methodological breakthrough. To date, there has been no in-depth analysis based on the theoretical path taken by knowledge sociology and genealogy and no study on the international spread of the Huallywood film theory.This paper therefore makes a comprehensive and detailed theoretical study on the international communication of the Huallywood film theory for the very first time, exploring the way in which, as a native original concept and theory, Huallywood film is generated and spread globally. We adopt the “travelling theory” research perspective and the analysis path based on knowledge sociology and genealogy. It transitions from a general description of the phenomenon to an in-depth investigation of the occurrence mechanism and power source of knowledge production, innovation, and diffusion. Breakthroughs in the depth, breadth, perspective, and methodology of the literature research can be found in this paper.The research findings are as follows Huallywood film is a typical example of a theory based on the perspective of new cosmopolitanism and the theory of Huaxia Communication, connecting China to the world through academic dialogue. In its international travel, it has formed an inclusive theoretical discourse system that originated in China and is now open to the world, with its theoretical connotations being clarified and its international influence continuously expanding. Taking Huallywood film theory as an example, this paper also examines the international communication and influence of innovative Chinese academic concepts. This investigation could provide practical and enlightening ideas for its readers in the direction for the construction of Chinese film research subjectivity, thus building up a theoretical discourse system that connects China to the world. Also, this paper could hugely benefit the exploration of the international discourse power of Chinese academic studies within a highly competitive ideological jungle in the era of globalization.