If screen culture has been perceived as a fantasized home for the need of prosthesis to the reality, the South Korean film Silenced (Dogani in Korean) runs counter to this assumption. Silenced, based on a true story, spotlighted the sexual and physical abuse at a school of hearing-impaired children. The film sparked public outrage upon its release in September 2011, resulting in a reopening of the investigations into the incidents. The demand from audiences for legislative reform eventually led the birth of Dogani Bill that abolished the statute of limitations for sex crimes against minors and the disabled in October 2011. This change of the legislative system caused by a single film has quickly garnered itself a transnational sensation among the Chinese audiences. It became an alarming call to the Chinese film and a reference for criticizing Chinese film’s inability to generate influence in reality among the Chinese spectators. Korean film Silenced allows the powerless to speak to the reality through the “power-of-screen.” This change made across screen has been called “Dogani effect” by Chinese media and spectators. This empowerment of the powerless has catalyzed a reflective thinking upon the similar but unspoken crimes, as well as a discussion on redefining what is possible for the film in China. In 2017, the Chinese film Carnival about sexual assault on girls has finally made its debut. Trough comparing the Korean film Silenced and Chinese film Carnival, this essay discusses the “Chinese characteristics” generated by the interaction between screen-capitalism and Chinese post-socialism.