HOLLYWOOD FILMS in the NON-WESTERN WORLD: What Are the Criteria Followed by the Chinese Government When Choosing Hollywood Film Imports?

HOLLYWOOD FILMS IN THE NON-WESTERN WORLD: What Are the Criteria Followed by the Chinese Government When Choosing Hollywood Film Imports?

Marta Forns Escudé

2013/38

Marta Forns Escudé

Institut Barcelona d’Estudis Internacionals (IBEI)

[email protected]

ISSN: 1886-2802 IBEI WORKING PAPERS 2013/38 Hollywood Films in the Non-Western World: What Are the Criteria Followed by the Chinese Government When Choosing Hollywood Film Imports?

Edita: CIDOB edicions Elisabets, 12 08001 Barcelona Tel. 93 302 64 95 Fax. 93 302 21 18 E-mail: [email protected] URL: www.cidob.org

Depósito legal: B-21.147-2006 ISSN:1886-2802 Imprime: CTC, S.L. Barcelona, May 2013 HOLLYWOOD FILMS IN THE NON-WESTERN WORLD: WHAT ARE THE CRITERIA FOLLOWED BY THE CHINESE GOVERNMENT WHEN CHOOSING HOLLYWOOD FILM IMPORTS?

Marta Forns Escudé

Abstract: This dissertation argues that the Government of the People’s Republic of China, when it made the decision to import a quota of Hollywood films in 1994 to revive the failing domestic film industry, had different possible criteria in mind. This project has studied four of them: first, importing films that gave a negative image of the United States; second, importing films that featured Chinese talent or themes; third, importing films that were box office hits in the United States; and fourth, importing films with a strong technological innovation ingredient. In order to find out the most important criteria for the Chinese Government, this dissertation offers a dataset that analyzes a population of 262 Hollywood films released in the PRC between 1994 and 2010. For each unit, a method has been developed to compile data that determines whether the film reflects any of the four criteria, and findings in the form of yearly percentages have been drawn. Results show that, out of the four studied criteria, the two predominant reasons for China to import films were technological innovation and box office hits. This tells us that, at this point, the Chinese Government shows more interest in obtaining big revenues and learning from technically innovative American films than in de- livering underlying political messages. This dissertation contributes to the existing literature by analyzing the content of all the films imported by China between 1994 and 2010, while integrating in the analysis variables based on the existing knowledge..

Key words: China - United States interdependence, Censorship, Propaganda, Visual Content Analysis, Film Industry, Hollywood, Soft Power, Globalization in Non-Democratic Countries.

Acknowledgements: I would like to thank for their most valuable help and support throughout the development of this project: my thesis supervisor Robert Kissack; Burak Kadercan and Joanna Jasiewicz; Jesús Granados; Diego Muro; Maria Monguió and Marta Monguió; Huang Yun-Chung; Barbara Kennedy-Dixon; George Paaswell; Lina Bernäng; Annie Tan; pare, mare i Núria.

Comments: Final Dissertation. Master’s in International Relations. Institut Barcelona d’Estudis Internacionals.

-3- 2013/38 • IBEI Working Papers 1.1 in totals (see production total Hollywood’s of all of out year every imported be policy to emerge as well as the criteria of selection for the 10 mostly-Hollywoodnew thiscausedcontrolledreasons thatfilmscharacterizescensorship regime,the that to the state- rigid the later, and see will we as propaganda, of tools essential as films to birth arena,along with the importance that the Chinese Communist Party has given since its currenttheinternationalUnited Statesinhegemonythe betweenrelationsand China for rivalry the consideration into crisis. Taking financial deep a in was industry,which to 20 films in 2001 after China joined the WTO), as a measure to foreignrevive films per year –mostly Hollywoodthe movies- on a shared-revenuedomestic basis (increased film Chinese The films. foreign on Governmentyears decided 40 toimplement than newa policy moreconsisting of onimporting ban quotaa of10 a after onwards) here from open commercially in the theaters of the People’s Republic of China (referred to as China 1. INTRODUCTION -4- States through globalization and new technologies of communication in non-democratic Government orthereasons whythatmighthavehappened. the rest of films in the pool of yearly U.S. releases that were not chosen by the Chinese them. It should be specified from here that this dissertation learn has not considered to or analyzed order in innovation technological represent that films chooses China that is which hypothesis, the to added been has answer possible fourth a research, of stages first However, after China. in revenues similar possible from benefit to US the in hits office box were that films chooses China perspective, Third, economic an negatively). from China depict that films out ruling (thus themes pro-China and (directors/actors) talent Chinese featureor, that manner second, negative a in States United the depict either that films first, chooses, China perspective, ter-propaganda coun political a From directions. main three in films chooses Government Chinese to China identity, industry,national film foster domestic in the in crisis financial the the and that movies of role pivotal the States, United the with rivalry the given be, would answer central the priori, year. A every import to films Hollywood 20 or 10 the choosing when criteria specific any follows Government Chinese the whether is Source: Motion Picture Association of America, 2011. Films Released Year Figure 1.1. Yearly film releases intheUnited States in selected years with earnings indomestic box offices. below)becomethepuzzlethatwillbefocusofpresent dissertation. In 1994, “ The justificationThe this for project comescontextthe in impactthe of Unitedthe of dissertation this presentedby question central the mind, in puzzle this Having 2002 The Fugitive 475 2003 455 ” (Warner Bros, 1993) was the first Hollywood blockbuster to 2004 489 2005 507 2006 594 2007 611 2008 638 2009 558 Figure Figure 2010 569 - IBEI Working Papers • 2013/38 ------5- China decided China . The main cited why how globalization, particularly with the influx of American soft soft with American ofthe influx particularly globalization, American After interpreting the that After charts, while interpreting there are acknowledging shortcomings In order to find an answer to this puzzle, a population of all the Hollywood The existing literature, as we will see later, focuses mainly on mainly focuses later, see will we as literature, existing The production the of orwhichcouldhavethemes filmswith conditioned Chinese talent, production in each case. Alternative possibilities of analysis have been presented four variables. and inaccuracies, technologically innovative films and US box office hits seem to be the be to seem hits office box US and films innovative technologically inaccuracies, and hypoth initial the contradicting thus films, Hollywood picking for reasons predominant obvious become has what However, motivation. counter-propaganda a of political esis the than larger ismuch example, for FX, visual with of films US production the is that States; or does it have a strong ingredient of visual effects. After to calculated giving been have percentages each categories, four filmthe to answer a in No=0 a or Yes=1 assess the predominance of each category each year starting in 1994, and the results compare to graph joint a and variable each per graphs four into translated been have the four variables. lowing a method case of study large-N (Gerring, 2004), a population of 262 units has Divid quota. yearly the in included film Hollywood a being unit each gathered, been analyzed been has film each of content the basis, year a on determined samples by ed under four variables: different does it give a negative depiction of the United States; does it have a Chinese actor director, or theme; was it a box office hit in the United types of selected forfilms were each year’s quota, and this this study is where wants to collaborate to the existing knowledge. filmsreleased in China from 1994 to2010 has been compiled in a dataset. Thus, fol to import Hollywood films,while this dissertation analyzes the and (Wan approach economy political a taken have scholars reviewed the by motives Kraus, 2002), a politics and interdependence approach (Rosen, 2002), a counter-he gemony strategy approach (Su, 2010), and a piracy-fighting strategy approach (Wan and Kraus, 2002; Pang 2004). none However, of the reviewed articles consider what criteria or goals to transform Hollywood’s soft power messages (films) against the US, US, the that against (films) films messages power soft showing Hollywood’s by or to transform or goals criteria manner negative a in US the allow depict not that do films and showing ideology by Party’s either the and nation’s the reinforce they that so China, favor into the collective mind. influences foreign for hegemony in other aspects, this dissertation wants to analyze how China copes with with tion copes these affirmations, andChina understandinghow how China is challenginganalyze theto United States wants dissertation this aspects, other in hegemony for the spread of the itititown tousecanits whether and society, Chinese the within films through power benefit. Thus, the hypothesis questions whether the Chinese Government has specific ing that “globalization is really another name for the dominant role of the United States” States” United the of role dominant the for name another really is “globalization that ing smoke a “cultural as Hollywood describe al. et Miller Moreover, 2009:50). al., et (Miller rising from US-led struggle to convert the world to capitalism” (2009:51), which is ex underlying with vessels power soft as trans-boundary if understood are films plained others of behavior the affect to ability the as conceived is power Soft messages. political into considera to do what one wants them to attraction do (Nye, through 2009). Taking countries, specifically in China, for our purposes. Henry Kissinger has been quoted say quoted been has Kissinger Henry purposes. our for China, in specifically countries, 2013/38 • IBEI Working Papers find its reason to be in the relations between the United States and China. Explaining, the worldtocapitalism.”(Milleretal.,2009:51) convert to struggle a US-led from rising smoke cultural of signifier,a kind floating a 2.1. Theoretical Framework CONTEXTUALIZATIONS 2. THEORETICAL ANDHISTORICAL to thisdissertation. ages and the analysis of such findings. A final discussion and conclusions put an end by the display of findings and results in the shape of graphs depicting yearly percent the in cluded edge. Ensuing, the methodology proceedings to compile the final dataset (which is in ilarities and pointing out how can the present puzzle contribute to the current knowl compared and integrated within the existing literature areon the dissertation subject, findingthis the sim of answers and question central the section, Review Literature with the historical and film industry context in a dynamic manner. Afterwards, in the schematic with puzzle, the of background historical a -6- world juicy the very a from in benefit and everywhere penetrate to life desire a also of but 64), way 2009: al., et American (Miller the export to interest political a time, from the American side, to release Hollywood films in China is also not only it. At same the prohibiting years so many after borders its inside Hollywood cepted very are concepts ac has China These why explain would they world. because puzzle present the the for in significant status their and domestically power their preserveto it to adapt and deal, react, to obligated themselves feel states the now and actors, non-state new and channels new many through boxes black countries’ the penetrated has globalization age, information new the in that, is superpowers relationship dynamicsbetweenbothstates. Hollywood’s door to rescue its ailing film market denotes some kind of change in the on knock to one the was China that fact the above, quote (2009) al.’s et Miller eration Takingthem. between power consid of into balance affectthe to agenda underlying tion between both powers are interesting to analyze to determine whether there is an interac of events any rise, the on hegemon world possible as China and decline in hegemon world the as States United the lens, realismWaltzian structural the under In the following pages, this dissertation starts with a theoretical framework and Keohane and Nye (1998) understand that what has changed between both both between changed has what that understand (1998) Nye and Keohane The significance of this research project in the International Relations arena can as (…) effects globalization’s of descriptions all nearly in appears “Hollywood Annex Section Annex ) are presented, contextualized and explained, followed explained, and arepresented,contextualized ) Figures to acquaint the reader the acquaint to ------IBEI Working Papers • 2013/38 ------7- This study can also be significant in the theoretical framework of the globali In this sense, studying the Hollywood imports in China means only opening a Taking Taking these theoretical concepts and applying them to the dissertation’s ob Therefore, the relationship between the United States the and relationship China can be argued Therefore, so, as this dissertation wants to investigate, is to find out if China uses America’s soft America’s uses China if out find to is investigate, to wants dissertation this as so, America. power against to implement its values and way of life. As Su capitalism, ponders, the only model of by modernity globalization sponsored that every other is America, or the West/ country should follow? (Ibid.: 198) As the author in believes, and messages, power it soft build to is how US the reasonable from learn to to want might think China that doing start to way One aspect. this in US the to terrain gain to try years upcoming the zation theories, specifically on the cultural dimension of globalization (Su, 2011). In 186), (Ibid.: interplay” “global-local a to states forced has globalization concepts, Su’s and America plays an important role in most areas in the world through soft power that represent that interdependence between represent the United States and China and determine whether the process and impacts were are that countries similar. or In countries authoritarian other a to applied be more also can generalized study present manner, the Ameri or films Hollywood import to opt but States United the with terms good in not and place take imports the which under circumstances the study and culture, pop can the impact that they have in their societies and national identities. sible while still benefitting from the transition to market economy. the transition sible while still benefitting from a in industry single one through phenomenon broader a analyzing and window small industries other in done be could study of type this However, frame. time determined jectives, it is interesting to go into finding the ideo strong reasons despite world, the why to up open China, to started finally such90s, early the anuntil regime opaque logical reservations, and how the Government dealt with this transition to maintain pos as much as identity Chinese the and ideals Party’s Communist the preserve and countries in military spending in the world US$ with billion 711 and 143 US$ billion 2012), Institute, Research Peace International (Stockholm statistics 2011 – respectively and since they have shown opposite positioning in current conflicts such as example. Iran and the South China Sea, for Syria, thetical world with three characteristics: multiple channels between societies, with multiple actors, not just states; multiple issues, not arranged in any clear hierarchy; and the irrelevance of the threat or use of force among states linked by complex in sharing been have see, will we as nations, both Although (2000:115). terdependence.” many economic and cultural channels since the early 1990s, 2 top the the are states both since case, this in against argued be can force of irrelevancy use or threat of the 120million in receipts, which experts project it could increase fifteen times by 2013 (Ibid.: 325). as “complex interdependence,” which Keohane and Nye use to describe a “hypo market.Asa matter of fact, in 2009, Chinese box offices reported revenue a of USD 2013/38 • IBEI Working Papers Figure 2.1. Historical contextualization of theHollywood presence inChina. a) HollywoodinChinaBefore 1994 2.2. Historical Context -8- hibition- andadoptedtheSovietmodeloffilms as apropaganda tool(Su, 2010). ex and –production,distribution, industry film the of sectors all nationalized PRC the point, that At 1950. in banned were films Hollywood 1949, in China of Republic ple’s audiences to Western modernity (Su, 2011). However, after the consolidation of the Peo Chinese society in the 1930s and 40s, taking 75% of the market and introducing Chinese Sources: Su, 2010; Su, 2011; Wan andKraus, 2002; Wang, 2007. HISTORICAL ANDECONOMIC FACTS p E e As we can see in see can we As m h s i l b a t s l p l o e PROTE T ’ s m n a n a i R e e t a t s n i G e t n t n c i l b u p n o i t a z i l a b o l - E D

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- - IBEI Working Papers • 2013/38 ------9- main films that advocate patriotism, socialism, and collectivism, Marxism-Leninism-Maoism; that resist money-worship, hedonism, and excessive “ as a way to generate a collective identity and to foster a feeling of 1 below, the impact of below, globalization and the shift progressive from planned films are films Given this poor state of affairs, the Chinese government, through its Ministry of Ministry its through government, Chinese the affairs, of state poor this Given In the early 90s, the Chinese domestic film industry was suffering a devastating a suffering was industry film domestic Chinese the 90s, early the In Already from its early stages in the 1930s, the Communist Party in China “If I could control the medium of the American motion picture, I would need Main melody individualism; that oppose capitalism and all corrupt exploitative trends” (Z. Jiang, 1997, cited in Su, 2010: 46).

1. learn from a successful global business formula to develop the national film industry, industry, film national the develop to formula business global successful a from learn rev the its box officetechnique and marketing strategies, and to to revive learn from enues (Ibid.). Radio, Film, and Television Radio, (MRFT), Film, launched and a Television large-scale structural reform, which subscribed to the economic downturn in other sectors of the Chinese economy (Wan and Kraus, 2002). In the spirit of this reform, the Chinese Government saw in a new policy of importing “excellent” Hollywood films (Rosen, 2002: 2) an opportunity to with the whichfilm as a industry, collateral damage served asa springboard for the and Kraus, 2002; Pang, 2004). video black market and for piracy (Wan d) The Film Industry Reform financial crisis. The resentment and disappointment amongst the Chinese population Chinese the amongst disappointment and resentment The crisis. financial they since theaters, from away audiences drew environment political post-1989 the in in reflected as Furthermore, 2011). (Su, films propagandistic by enticed longer no were Figure 2.2 to market economy brought new forms of entertainment that ignited a competition These questions will be answered below. These questions will be answered Industry c) Financial Crisis of the Chinese Film distic tools-, the Chinese Government started producing what they melody called “Chineseness” (Ibid.: 102). If the Communist Party considered films as such valu able tools of why identity, did the Government decide, forty-four years later, to import filmsforeign again? Why did China allow its society and the national con science of Chineseness to be challenged by theAmerican motion picture medium? decided from the very beginning that films would be the most important “peda gogical tool to spread its political messages” and its “mostmachine” powerful (Pang, 2004:105).propaganda Once the film industry was nationalized following Soviet the model –as shown above, Soviets thought very highly of films as propagan nothing else to convert the entire world to Communism” (Joseph Stalin, cited in Mill in cited Stalin, (Joseph Communism” to world entire the convert to else nothing er et al., 2009:50) b) The Communist Party and the Film Industry Party and b) The Communist 2013/38 • IBEI Working Papers Figure 2.3. Policy measures by the Chinese Government to minimize minimize to Government Chinese the by Hollywood’s impact and protect thenationalfilmproduction. measures Policy 2.3. Figure Figure 2.2.Causes of thedomestic filmindustrycrisis. -10- capital; Entrusted Productions: aforeign company entrusts aChinese company to filminside China (Variety, 2007). 4 3 popularity amongChinese audiences” (Variety, 2007). 2 1 Source: Su, 2010; Wang, 2007; Reuters, 2012; Variety, 2007. Sources: Wan andKraus, 2002; Su, 2010; Rosen, 2002; Pang, 2004. The State gets 33% of theearnings, foreign companies 13%, domestic filmdistributors 8% to 10%,andtheaters 44% to 46% (Su, 2010). The additional14filmsare inpremium format (IMAX, 3-D), andare exempt from the quota20-film import (Reuters, 2012). The Chinese Government’s criteria for these films is that they must be “works of high intellectual and artistic merit, technical and excellence, technical merit, artistic and intellectual high of “works be must they that is films these for criteriaGovernment’s Chinese The Co-Productions: Chinese and foreign companies share an investment; Assisted Productions: China offers facilities, locations and labor to foreignto labor and offersfacilities,locations China Productions:investment;Assisted an sharecompanies foreign and ChineseCo-Productions: n n a l p C P a n i h al ca i t i l o ECONOMIC AND t f a f o D E ’ G s

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IBEI Working Papers • 2013/38 , ------2 -11- The stress stress The

above. Figure 2.3 Stanley Rosen’s article “The Wolf at the Door: Hollywood and the Film Market Stanley Rosen’s article “The Wolf The concept of the present thesis has been broadly analyzed by authors and According According to both Chinese official sources and to scholars on the subject, the cri Therefore, China liberalized the Therefore, distribution and exhibition sectors in film pro China’s China’s State Administration of Radio, Film, and Television is the state-run institution in charge of censorship and importing foreign films, amongst other duties (SARFT, n.d.). (SARFT,

2. and a matter of politics, which is linked to the content analysis of films -which the present thesis further develops. From the economic perspective, Rosen affirms that hand, one on 2): (2002: embrace” “uneasy an in summoned are China and Hollywood Hollywood hand, other the on industry; film dying its ignite to spark a needed China wanted a piece of cake of the fastest audience growing market in the world. The box in China from 1994-2000” (2002) tackles many issues that can be linked to this thesis a through descriptive account of the between relationship China and Hollywood be tween 1994 and 2000. For example, the author sees as objectives sought by the Chi nese Government when deciding to import Hollywood films an economic trade-off scholars, who give different angles from where to understand this complicated re lationship between United States and China, and who understand different motiva the Chinese Government to import Hollywood films. tions that brought 3. LITERATURE REVIEW LITERATURE 3. est, and should be used for China’s gains and goals (as cited in Rosen, 2002). to answers possible on cinematic achievement the and technical to excellence cited repeatedly in added these criteria was ex innovation technical and of variable the why plain sources. point in different since it was a recurring the hypothesis of this dissertation, teria for importing foreign teria filmsfor foreign rangedfrom filmsimporting fruits “the that reflected excellent of the world civilization” and “contemporary represented cinematic achievement” (Su, “overly of popular and excellence, technical merit, rejection artistic and intellectual and high of “works 2011:43); censorship strict 2007); (Variety, audiences” Chinese amongst ity violent and sexually explicit films” (Miller et al., 2009:321); and, according to SARFT inter national and needs China’s serve must imports “all that consideration into having e) Criteria for Imports duction to import globally successful Hollywood and foreign blockbusters, although to duction import globally and successful Hollywood foreign was quota This industry. national the protect to year per films 10 of quota a imposed it enlarged to 20 films per year after China joined the WTO in 2001,and to 34 films in 2012, as a result of Hollywood’s and pressure lobbying. The most relevant details of the Chinese Government policy regarding opening up again to foreign films can be seen in 2013/38 • IBEI Working Papers Chinese Governmentwouldhavehadadilemmawhethertoimportthemornot. the ideology,because versus market on made been have could assessment better a (they were 59 office box US the of top the in been films three these However,had matters. content that examples obvious are paragraph, previous the in mentioned titles three the as manner, negative a in China depict that films rejectionof The concern. main a comes be carry, that films whether these and that ideology the controlling of objective any gates if, in this market move to import Hollywood films, the Chinese Government has investi project present the Thus, profit. economic the maximize to objectives dicting contra both integrates Government Chinese the how becomes issue the since tation, TriStar, 1997), released three films that were considered anti-Chinese: companies (Columbia TriStar, Disney, and MGM) were banned from China after they why,reasonthree the American 1997, is in This 3). (Ibid.: relations Sino-American in depending also and China in with “sincerity” approvaltheir on depending their on 1994 got from China studios American Thus, China. in allowed be films to what going deciding were in present been always has that factor a as politics out points ferent long-term aspirations: market (United States) and ideology (China). Rosen also other,each need powers both though even that, understands realityin dif have they reach US$5billionby2015(Variety, 2012). to expected is and 2011, in time first the for billion US$2 past swept China in office -12- in national the to it applying globally,later works thus that system a from industry Chinese government to import Hollywood films as a way to learn from them and the the intentiontolure theaudiencesawayfrom the American films. with films, fromHollywood learned techniques productions,using big Hollywood’s emulate to trying blockbusters big Party,as producedCommunist now the arefrom ture (2010: 40). successful when it comes to technological renovation of the film exhibition infrastruc partially consideredas be can it produced,but film films of quality recoupedand market of terms in ineffective be to proved has 2000 to 1994 from Hollywood against melody main so-called the combining of strategy government’s Chinese the that is argument tral Su’s exhibition). in even and marketing artistic, (technical, industry national the ported Hollywood films to learn from the American industry and apply the lessons to her,accordingto Thus, objective. its as strategy im hegemony China counter a 1994, in policy cultural the in change its with sought, Government Chinese the that asserts (2010), 2000” to 1994 from Hollywood TowardGlobal Strategy hegemony Counter Linking Su’s work to this dissertation, Su defines the objective followed by the by followed objective the defines Su dissertation, this to work Su’s Linking and Policy Cultural China’s - Be? To Not or Be “To article her in Su, Wendy Rosen’s concepts of ideology versus market are very meaningful for my disser By using the Chinese idiom “same bed, different dreams” (Rosen, 2002: 2), Rosen propagandistic films with newly-learnt blockbuster format to compete to format blockbuster newly-learnt with films propagandistic th Kundun , 143 Main Melody rd , and 86 (Disney, 1997),and propagandistic films, the traditional propagandistic films th in 1997 respectively, according to Box Office Mojo, n.d.), Red Corner (MGM/United Artists, 1997). Seven Years in Tibet (Columbia

cen ------IBEI Working Papers • 2013/38 ------13- The issue of piracy is also present in The Laikwan issue of Pang’s piracy “Piracy/Privacy: is The also De present Wan and Kraus’ Wan article is helpful for this dissertation because it analyzes thor Wan and Kraus’ central answer with regards to whether Hollywood and China to Hollywood whether with regards answer and central Kraus’ Wan Although the authors admit other commonly used approaches, such as cultural used approaches, the admit other commonly authors Although Jihong Wan and Richard Kraus (2002) explore the objectives of the Chinese Gov Chinese the of objectives the explore (2002) Kraus Richard and Wan Jihong zation. The fact that in the early 90s Chinese audiences became progressively more via illegal video influences American and Western uncensored of to all sorts exposed joint fight against piracy. spair of Cinema and Collectivity in globali China” of damage collateral a as (2004). appointed is which China, in Pang piracy towards proach makes an interesting ap films to maximize the economic profit and strengthen the film market. The authors other explanations to claim that the political economy approach purposely disregard can result an independent explanation by itself. Within the economical framework, Chinese of experience the broaden will films Hollywood that believe also authors the audiences and that they will push Chinese filmmakers to improve theirand technique craft. Furthermore, they also believe that the shared-revenue basis will favor a to find artistically interesting films to be shown in multiplexes, films which would “bear “bear would which films multiplexes, in shown be to films interesting artistically find to 434). the stamp of both Hollywood and the Party” at the same time (2002: Hollywood imports Government Chinese the that answers, possible the of one oughly can can be lies on accomplices changes of a key terms two The renegotiation in are authors their relationship. measures protectionist revising and censorship relaxing that agree be should China for goal final the that conclude they and renegotiation, supposed this in this approach because the Chinese film industry learns from and imitates the Hollywood Hollywood the and 2002: 420). and Kraus, imitates The (Wan defend tighten relax” authors and controls “political from learns industry film Chinese the that because ones the are approach this reasons economic political because and stated, also (2010) Su as film system, Chinese the in intervention state of method and purpose of change the explain best China. with the influence of globalization in industry in the 90s, as hinted before (2002), as we have seen. econ political the on lays answer central their perspective, artist-centered the or criticism in which the context better to understand it allows claim, they because, omy approach ernment behind importing Hollywood films in their article “Hollywood and China as China and “Hollywood article their in films Hollywood importing behind ernment Adversaries Allies” and from a political economy perspective. In their case, the cen tral question the authors pose is whether Hollywood and China can be accomplices in business, beyond their differences and rivalries -an issue also explored by Rosen the focus is more on the objective to import films depending on their content, given the choice that the Chinese Government has to face every year to pick 10 films out of in technological regarding variable the However, productions. of pool larger much a by concepts Su’s reinforce would D), Variable is later, see will we as (which, novation ingredients. imports films with high technological asserting that China dustry and hopefully reviving the financial problem. In the present project, however, however, project, present the In problem. financial the reviving hopefully and dustry Foreign FilmsSynchronously

2013/38 • IBEI Working Papers significant profit). with birds a making (while piracy fighting and taste, audiences’ their satisfying stone: same the two kill they films these importing by so piracy, through films lywood and Wan and Kraus (2002) stated, that Chinese audiences were already enjoying Hol tion for the Chinese Government to import Hollywood films could be, as Pang (2004) productions withforeign companiesin2001aftertheWTO accession. co- Chinese to door the opened Government policy,the of change a through when, solved only was that industry domestic Chinese the on crisis a causing thus offices, Figure 3.1 mestic debate that China suffered after the entrance of Hollywood (as summarized in ernization process and national identity” (2011: 186). In fact, Su (2011) presents the do that, with the Hollywood example, the Chinese people need to build their own “mod see this as necessarily a bad thing that will damage the Chinese identity. She believes (2011),2007” fromto Cinema 1994 Hollywood not on does Debate Extensive China’s Welcomingor Imperialism, Globalization? Cultural Cultural “Resisting entitled hers it. profit of a out make and globalization of to article in another give in to Su, Wendy protectedonce the in identity,globalization Chinese of penetration the life, everyday China’s in Hollywood of entrance the unavoidable, the with deal to Government the of a way as interpreted be can films Hollywood of import official the sense, that In 2009:214). al., et (Miller streets the on copies also pirated million 25 it and 20 while between sold DVD, and video in copies legal 300,000 China in sold 1997) Fox, tury film the example, an piracy.As massive the control and situation the down crack to unable was Government Chinese the that fact a is it presentwhen of image China’s black metaphorical box crumbling (Keohane realist and Nye, 1998). a This metaphor becomes suggests more downloads Internet or sales videodisc or -14- Source: Su, 2011. Hollywood filmsin1994. Figure 3.1. The two sides of the domestic debate in China after the arrival of S - H n a R n i s u b - C - S - C r • v a • N WHO s i a WHY h c n y e l a n o i t a R E d p z i l o b m y a n i h n i h y l l o

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- - - - - IBEI Working Papers • 2013/38 ------15- the Chi why did the Chinese Government choose the Hollywood how Following Berg’s concepts (2004: 269), this research project is a mixture of mani of mixture a is project research this 269), (2004: concepts Berg’s Following These concepts are understood for the dissertation in the sense that the message the that sense the in dissertation the for understood are concepts These In order to find the adequate method to analyze what types of films the Chi Rounding Rounding things up, the reviewed literature serves to give a very detailed de fest content (“surface structure presented in the message”) or quantitative data, and less wholesome messages”, being are progressively seen as “active subjects engaged in the construction of meaning” this wants (Ibid.: project to out 80). figure Therefore, Hol imported the for meaning new constructing is Government Chinese the whether message to the population. its propagandistic reinforce lywood films to that US production companies intended to send with their films can be understood who audiences, Banks, to according since, specially audiences, Chinese by differently or more with filled vessels “passive as research social by considered been usually had (2004). Berg understands content analysis as “any technique for making inferences by inferences making for technique “any as analysis content understands Berg (2004). systematically and objectively identifying special characteristics of messages” (2004: inter the and images, the of properties “the that understands end his on Banks, 267). pretation of readers, are not fixed. The story that the image communicates –internal narrative- is not necessarily the same as the narrative the communicate” (2001: 11). image-maker wished to 4.1. Framework: Visual Content Analysis Content Visual Framework: 4.1. nese Government is chooses an and objective if re behind there the choice, literature Berg and (2001) Banks specifically accessed, been has analysis content visual garding 4. METHODOLOGY 4. ner or feature Chinese talent, whether they are US box office hits, or whether they are are they whether or hits, office box US are they whether talent, Chinese feature or ner vivid examples of technological innovation. The methodology section that follows will give the details on how this analysis has been developed and what findings it has brought. films. Picking up on the politics issue suggested by Rosen (2002), on the technologi Wan by provided reasoning office box the on and (2010), Su by argued innovation cal and Kraus (2002) and Pang (2004), the dissertation focuses on the content analysis of the actual imported films, and on determining whether they have a specific message whether they depict China in a positive man depicting the US in a negative manner, scription scription on the historical context and on a list of objectives that answer nese Government decided to welcome Hollywood to take on the Chinese collective As identity. we have seen, these ranged from economical reasons, political reasons, Tak reasons,piracy-fighting and learningreasons to applyto the domestic industry. existing the to collaborate to wants dissertation this arguments, these account into ing knowledge by delving into 2013/38 • IBEI Working Papers the presented hypothesis. for research thorough more a for ones unstudied the to applied studied also be the could cases to applied method the However, censored. were that or Government Chinese the by chosen not were that films Hollywood available representthe would project this in cases unstudied The information. of amount large the to due sidered con been have cases studied the only study present the for (Ibid.), cases” unstudied as well as cases) (studied ‘sample’ a of “comprised is population a understands ring Ger though Even frame. time the in included year per one samples, 17 into divided been has units 262 of population a Thus, 342). (Ibid.: time” of period delimited some over or time in point single a at observed (…) phenomenon bounded “spatially a as case. single Aa as China understanding of instead 2010, study have been considered to be each Hollywood filmthis releasedfor incases China fromthe reason, 1994 this to For 341). (2004: units” of set larger a across generalize to aim an with unit single a of study depth “in an is study case a concepts, Gerring’s 4.2. The Method Description: Large-N Case Study to thisfactorwhenresearching aboutthecriteriafor imports. was added after it was noticed that the Chinese Government gave special importance covered by the examination of the data” (Ibid.: 273), the Technical Innovation variable aregrounded(“categories dis of theory principles Furthermore,the following data. qualitative or message”) the by conveyed meaning structural (“deep content latent -16- 1994- between releases regarding information said, being That research. my for or US China to travel not could I since and Chinese, speak not do I since data, of type easy-access an not is it since find, to difficult particularly been has year every ported altered thefinalN. for 2011). However, at the time to missing do the be research, still several issues might and a numbers few restrictions (some sources consulted the in accurate and in was information office box ensurethe would all and period sample a as serve would that since it was the year on). Therefore, the idea was to have around 270 films. The initial date was set to 1994 established import quotas (10 films per year from 1994 to 2000, the and 20 on films China from 2001 in released films Hollywood of universe the containing database a on 4.3. InitialIdea andResearch Process First of all, access to information regarding what American films have been im consisting study large-N a make to was methodology the for idea initial The study.case Following large-N a of that is hypothesis the study to method The The Fugitive was imported, and the end date was set to 2010 since unit is described by Gerring by described is - - - - IBEI Working Papers • 2013/38 - - - -17- (2010). The Painted Veil Veil Painted The . Since some of (2006), Shanghai Figure 2.3 Fearless (2008) and (2001), Pavilion of Women of Pavilion The Forbidden Kingdom (2007), ; in 1995, the total number of imported films was 9, but two Hong Kong At any rate, only films with American participation (films eitherproduced or It must also be mentioned that starting in 2001, besides the 20-film quota on It should be mentioned that, in the data collected from these sources, the number the sources, these from collected data the in that, mentioned be should It (2006), Lust, Caution co-produced co-produced by American companies) have been considered for this dataset. How ever, films that have been co-productions between U.S. and China –a practice that started after the WTO adherence- have also been disregarded in this dataset, since it can be interpreted as the content of those films was approved by both sides before were films These production. or from the US production companies, its the veracity US is of production attached or the to from the credibility obtained sources. For the optimal elaboration of this project, were it to be replicated, information should be withdrawn as much as possible from official Chinese sources or US distributors. quota. Even though this a represents step back on the initial intentions, research any American film that is imported serves the purpose of this thesis, sincethe but intended, whatinitially as we pure are as not is dataset the Therefore, content. is at looking It wrong. or right hypothesis the proving towards help can year per reflected samples source official an from come not does information the since that, emphasized be must the films in this new pool were also American, when checking Hollywood films in the box office numbers provided by Enbase, in the years 2005, 2006, 2007, 2008, 2009 and 2010 the number of US films was well-above 20. The inaccuracy in these cases is due to the fact that an official source or classification of what filmswere under the 20-quota and which ones under the 30-quota has not been found, may be for filmswhich in there the dataset that were actually imported under the 30-film flat rate Database for that year. a shared-revenue basis, the Chinese Government also authorized a 30-film quota of foreign films on a flat rate, as it was shownpreviously in ter they released three films that were considered anti-Chinese; in 1999, after the U.S. the after 1999, in anti-Chinese; considered were that films three released they ter bombing of the Chinese Embassy in Belgrade, China suspended film imports until mid-2000, therefore only 6 films were imported in that year (Su, 2010). In2000, thethe total year count is of instead 11 of 10, which might be because of a source inac curacy since information was Rosen obtained (2002) from and Enbase Entertainment of titles given never matched the 10 or 20 quota, except for 1996, 2000, and 2003. The numbers could be affected for reasons: different in 1994, the only imported film was The Fugitive American for participation; the dataset, since discarded they didfilmsnot were have af China from banned were companies American three earlier, mentioned as 1997, in releases releases between 2001 and 2010 were found by checking the mainland China at the Chinese entertainment yearly database Enbase (EntGroup, n.d.) and box offices in the Chinese website which MTime.com, was accessed using since Google Translator in English. a version it did not offer 2000 was drawn from an article by Stanley Rosen (2002), and information regarding 2013/38 • IBEI Working Papers a) QuantitativeData each unit/film. for observed was qualitative) and (quantitative data following the and dataset, a in 4.4. The Dataset -18- of (Variablebox are(Variabletalent/theme that manner Chinese featureB), that A), c) Variable CriteriaandPercentage Calculation b) QualitativeData 15. 14. 13. 12. 11. 10. 9. 8. 7. 6. 5. 4. 3. 2. 1. After the initial remarks, once all the titles were obtained, they were introduced In order to analyze whether China chooses films that depict the US in a negative FX teamofthefilm(InternetMovieDatabase,n.d.). Visual FX crew. the filmacquired intheyearlyboxoffice(BoxOfficeMojo,n.d.). Position in the yearly US box office. Database, n.d.). Movie (Internet talent/theme Chinese any without films reflects N/a China. Theme. or Cast/Crew Chinese n.d.; andRottenTomatoes, n.d.). Institute, Film n.d.; American Database, Movie (Internet encountered been has Villains. USA yearlyboxofficerevenues 1CNY=0.157246 USD, pertainingto August 19 rate: the with USD million to exchanged been has It (CNY). YuanChinese Renminbi million in obtained was information the 2000, to 1994 revenues office box yearly China Distributor Director n.d.). subgenres and Genre Year ofproduction Film title China’s yearlyboxofficeposition Number ofcasewithinayear/sample. Year ofreleaseinChina Unit number List of the main villain(s) in the film. N/a means no significant villain (Internet MovieDatabase,n.d.). (Rosen, 2002;EntGroup, n.d.;andMtime,n.d.). (Box OfficeMojo,n.d.;Rosen,2002). : numberofthecaseinrelationship tothewholepopulation. The number reflects the number of crewmembers in the Visual (Internet MovieDatabase,n.d.). (American Film Institute, n.d.; Internet Movie Database, Movie Internet n.d.; Institute, Film (American (Rosen,2002;EntGroup, n.d.;andMtime,n.d.). th , 2012. Lists any Directors, Actors, themes related to related themes Actors, Directors, any Lists , inmillionUSD(BoxOfficeMojo,n.d.). (EntGroup, n.d.). Onacm nd) i mlin S. From USD. million in n.d.), (Oanda.com, The number specified reflects the position - IBEI Working Papers • 2013/38 - - - - -19- Co-Productions Co-Productions between the US and China have been discarded from the da

For this category, films with directors or actors from Mainland China, Hong Answer: China imports films that featureChinese actors or directors, or a Chi Films have been given a Yes=1 in Films have been when given they a this have category a Yes=1 that is villain Answer: China imports films that give a negative depiction of the United States United the of depiction negative a give that films imports China Answer: As a calculating procedure, each unit in the population can either be a “yes” or As a calculating procedure, tabase because it is understood that if both countries embarked on a joint production, production, joint a on embarked countries both if that understood is it because tabase on both ends. beforehand the content of the film had to be approved China or that include inmartial Column arts), 13.as Forreflected the purpose of this present this study, category has not considered the films which depict China nega have that but content) actors, (directors, ingredients Chinese have that films or tively, been censored and not imported by the Chinese Government for different reasons, a deeper analysis within the variable that could be further developed in a broader study. nese Theme in a positive perspective. Kong, Taiwan or Malaysia (with a Chinese ethnic background) have been Yes=1, as given well a as films that include Chinese themes (they are set in China, ancient Variable B Variable a No=0. The reasoning behind using US/corporation villains is because they denote the the denote they because is villains US/corporation using behind reasoning The No=0. a genre, the Regarding companies. or institutions American-backed of functioning wrong previously the of context the in metaphor a as here globalist understood is Apocalypse or capitalist Disaster the under nowadays, world the concept: power of balance mentioned system and still under American is hegemony, not functioning and it needs to be “de thus giving path to a new beginning, a new system (Chinese hegemony). stroyed”, genre of the film is a Disaster or Post-Apocalyptic. The villains are specified in column 12 column in the or when corporation, specified a large are institution, public States of a United member villains a rogue The Post-Apocalyptic. or Disaster a is film the of genre given been column have Genre/Subgenre the under found observations be can 3 remark Disaster/Post-Apocalyptic these and of any to respond not do that films The 7). (Column Variable A Variable (and in turn, of democracy and capitalism) yes) or a 0 (for no). After all the numbers have been gathered, yearly percentages have percentages yearly gathered, been have numbers the all After no). (for 0 a or yes) been recorded and translated into a graph, as we will see to later, read the tendency over time. A priori, the highest percentages will indicate that the behind the Chinese Government. likely to be the objective variable is more following following considerations have been regarded towards making the content analysis (2004). Berg by recommended as possible, as as objective process a “no” which to has each been category, translated for statistical purposes to a 1 (for fice hits in the US (Variable C) or that have technological innovation (Variable D), the the D), (Variable innovation technological have that or C) (Variable US the in hits fice 2013/38 • IBEI Working Papers guably drawsmore audiences tothetheaters. ar that and film a watching when “visible” more is innovation technological where images, mixing real life footage with created footage, etc. In the short, it of is manipulation the department graphics, computer includes that department a is it since fects, Variable D 2000 andbefore). 20, since in the year they were released in the US the criteria was still the top 10 (year top were they fact the despite No=0 a considered been have 2001 in films some US, the in released were films the when one the is office box the for considered year the Since No=0. a given been have positions those make to failed that China in released quota was 10-films per year, and the top 20 when the quota increased. Films that were the when list the from American hits office box ten top the block a in imported have should China correct, was C answer if that is this behind reasoning The 14. Column 20 from 2001 to 2010 have been given a Yes=1, following the information displayed in Variable C -20- been converted justasanindicativenumber.has it year, each different slightly was rate exchange the since be accurate, not fully might quantities the Although USD. million into source first the convert to USD from 2001 to 2010 million (EntGroup, n.d.). Exchange rate from august in 18 other the and 2002), (Rosen, 2000 to 1994 from RMB million in one sources, 2 from come China in numbers office box that mentioned be should it tion, d) Inaccuracies fects havealeadingrole, and thushavealarge teamdevotedtothem. ef visual where films the strain to order in determined been has threshold member 100-crew The 15. Column in listed numbers following No=0, a given been have bers superior to 100 members have been given a Yes=1, and films with less than 100 mem Answer: Chinaimportsfilmswiththehigherboxoffice revenuesinthestates. Although this inaccuracy does not directly affect the outcome of the disserta the of outcome the affect directly not does inaccuracy this Although a visual effects crew with films variable, this quantify to way a find orderto In ef visual with identified been has innovation category,technological this For Answer: Chinaimportsfilmswithtechnologicalinnovation. top the in were that films and 2000 to 1994 from 10 top the in were that Films th , 2012 was applied - - - - - IBEI Working Papers • 2013/38 , - - -21- 2015 The Fugitive 2010 2005 Year Variable A Variable 2000 1995 1990 In order to do a this similar research more accurately, procedure of analysis of By looking at the graphic, contrary to what it was believed to be a strong objec strong a be to believed was it what to contrary graphic, the at looking By After registering the percentages as calculated in A, the B, C, D columns in the

0 50 100 150 Percentage that depict US in a negative manner in both countries. If the percentage was higher in higher was percentage the If countries. both in manner negative a in US depict that Government Chinese the for significant is A Variable that argue could we then China, as a way Furthermore, when third of making analysis,a if choice of films every year. positive and negative States, United the positively depict that films labeled variable a was a predominance. and assessed whether there could be compared results imported gets higher after 2001. variables should have been done to a random sample of US releasedfilms eachfilms sam in difference or similarity a is there if see and results both compare and year, pled tive before starting the research for this project, depicting negatively the United States United the negatively depicting project, this for research the starting before tive does not seem to be a strong motive to pick films, and the tendency along the years seems to be diminishing below 20%, specially considering that the number of films Figure 5.1. Variable A: Negative depiction of the United States. the United depiction of A: Negative Variable 5.1. Figure was accounted in that sample year. was accounted in A Variable 5.1. dataset (cells in grey at the end of each year), said the be must findingsIt follows. haveas results, been interpretative graphed,the by and complemented been have they that for 1994 the was percentage either 0% or 100%, since only one unit, 5. FINDINGS OR RESULTS OR FINDINGS 5. 2013/38 • IBEI Working Papers of theirsuccessin America. this suggests that the Chinese Government sought to import Chinese films regardless Annex, and that of this number only 10 were top 10 or top the 20 in Box Officeavailable hitsdataset in thethe US, in depicted as analyzed, frame time the in talent/theme However, if we have into account that China imported a total of available. 31 was films with what Chinese imported China and themes or talent Chinese with films many produce not did US the that two, or themes; or talent Chinese with films many port im not did China that one, ways: two in read be can 35%) surpass not does (it years Figure 5.2. Variable B. Presence of Chinese Actors, Directors orthemes. 5.2. Variable B -22- Variable Banswer. the reinforced have would they for accounted been they had office, box ten/twenty Caution - films omitted the of none that fact the Given dissertation. this of hypothesis the regarding portant Variablethat consideredim morebeen A was has Variable affectsit criterion B, this would affect Variable A (both parties would agree to content before hand). Aware that omitted fromthe USandChinahavebeen they is believedthat thisdatabase,sinceit that were available,anddetermine iftheyimportedthemajorityofthemornot. films Chinese-themed of number the to compared imported have Chinese the films of number the contrast could we Then talent/theme. Chinese with films of centage year, per one produced the in films subtract US number fromof that and number Percentage 40 20 30 10 0 Furthermore, it must be reminded at this point that co-productions between co-productions that point this at reminded be must it Furthermore, total the take to be would suggestion the scenario, research this Toenhance analyzed the along VariableB by achieved percentages irregular and low The 1990 (2007), Pavilion of Women of Pavilion The Forbidden Kingdom Forbidden The 1995 (2001), 2000 Variable B (2008) and (2008) Fearless Year (2006), 2005 Shanghai The Painted Veil (2006), Lust, Veil(2006), Painted The (2010)- made the US top US the made (2010)- 2010 2015 - - - IBEI Working Papers • 2013/38 - -23- 2015 2015 2010 2010 2005 2005 Year Year Variable D Variable Variable C Variable 2000 2000 1995 1995 1990 1990 Given the previously exposed condition for this variable that if China wanted 0 0

60 60 20 20 40 40

80 80

120 100 100 Percentage Percentage 5.4. Variable D Variable 5.4. Innovation. Technological D. Variable 5.4. Figure 60% and the 40%, meaning that box office gains is a strong ingredient but that censor that but ingredient strong a is gains office box that meaning 40%, the and 60% to get higher. ship or other criteria avoid the percentage to import US box office hits they would take the top 10 or top 20 block and import them, this graphic shows that the Chinese Government does not completely follow this criteria, while it is still significant. Even though the tendency starts high because the between stabilizes it years the along that see can we film, one only is there 1994 in Figure 5.3. Variable C. Box Office hits in the US. in the hits Office C. Box Variable 5.3. Figure 5.3. Variable C Variable 5.3. 2013/38 • IBEI Working Papers 5.5. Comparison of theFour Variables logical Innovation”andthattechnologyisasignificantfactorforChina. lower than China, then we could argue that China does indeed pick films with “Techno wascurve US the If US.offeredthe largerthemquantity byofa because thereisbut the predominance of Variable D is not because China weresimilar, one arguethat picks“TechnologicalChina could the we and graph Innovation” this determined type of films, US the of curve the If percentages.compare afterwards and 1994/2010, from 10/20 top VisualFXcrews). Inthat case, the same method used here should beapplied tothe US films with oflot makesa US the Technological Innovationfilms with largeof lot a (or the data. analyze to way subjective a considered be may teams Effects Visual high recording just since production, the of part technical the to allocated budget the and films the lation of films, I would probably make an assessment on the equipment used to make the percentages. If I had more time to analyze “technological innovation” in the popu ing oftheChineseEmbassyinBelgradebyUS. a drop in 1999 that can be explained by the halt in Hollywood imports after the bomb The findings depicted by Figure 7 show an increasing tendency along the years, after tion seems to be the highest regarded objective followed by the Chinese Government. -24- ple are (asdepictedinthelastrow ofthedataset): Percentage Figure 5.5. Comparison of Variables A,B, C,D. 100 80 40 20 60 0 After looking at the four graphics, choosing films with Innova with Technological films choosing graphics, four the at looking After In percentages, the total averages from the 262-unit population as a single sam saidVariablecurvethatthealsobecanofIt higherisothersthanthe Dbecause and data the gather to applied method the to attributed be can findings These 1994 1996 1998 2000 2002 2004 Year 2006 2008 2010 Variable A Variable B Variable D Variable C - - - - - IBEI Working Papers • 2013/38 ------25- (Paramount Pic (Paramount (Twentieth Century Fox, Fox, Century (Twentieth 4 Double Jeopardy Double A Walk in the Clouds the in Walk A 3 (Paramount Pictures, 1995), or #45 or 1995), Pictures, (Paramount Sabrina China knocked on Hollywood’s door in the early nineties to salvage its failing It should be mentioned at this point that some films have not scored in any of Thus, if I could do this again, research I would either apply each variable with Variable B: 12% Variable C: 48% Variable D: 64% Variable According to these numbers, it would seem that D Variable (technological in Variable A: 18% A: Variable Because films can score in more than one variable, the yearly percentages or total average percentages do not add up to 100%. or total average percentages than one variable, the yearly percentages in more Because films can score the title denotes the unit number in the dataset. The number before 3. 4. domestic film industry. In a globalization context where technology made it easier for easier it made technology where context globalization a In industry. film domestic soft power messages to travel across borders, China realized that it could no cultural longer of game the joined and ideology, its protect to world the from isolated remain globalization. However, in an international relations context, where both states are 6. DISCUSSION/CONCLUSION companies to China in a pack with other more successful films, as a way to find mar find to way a as films, successful more other with pack a in China to companies ket for smaller movies that otherwise would not have been chosen. Needless to say, dissertation new any but study, to variables four only considered has dissertation this results. method to find other could identify new variables and use this proposed the proposed four variables, such as #17 as such variables, four proposed the #24 1995), explain this, a new tures, 1999), To fifthto variablename coulda be few. introduced, US by imports as forced or pushed been have might that films describe would which In order analyze the films’ content as objectively as possible, I would design a ques theorists and critics film of series a to send to films all watched having after tionnaire from China, the U.S. and neutral countries, to assess what is the message behind the films and to contrast opinions. the same method to the US top 10/20 box office lists from 1994 pare results with toChina, or I 2010, would find and new variables that com are more specific to film innovation: technological or box-office regarding variables the disregard and content these categories, for example, could be pro-US, anti-US, pro-China, and anti-China. novation) is the most predominant objective the Chinese Government lastly seeks and messages anti-US hits, Office Box by followed when films, Hollywood importing pro the paragraphs, prior the in hinted was it as However, movies. Chinese-Themed duction of films with Chinese content is different than the production of films with etc. Innovation, Technological 2013/38 • IBEI Working Papers Figure6.1.Domestic BoxOffice Revenue China’s of industryfilm between on positions (missing positions office box top the in spots moreprogressively obtaining are films Chinese decade, last the in Moreover, offices. box domestic the of revival a Hollywood-like status. As acquire these hopes the under films, Chinese through internationally and regionally condition superpower its reinforce to and messages, power soft own its send to aim will China that be could defends, (Ibid.) Su as step, next The cinema. domestic its to make films thatto earn bighow boxlearning offices,now,is andfor isChina, learning technologicalthat innovationsis tothis apply behind reading The objectives. any other above office box the to revenues big bring that films and innovation nological propaganda againsttheUSandinfavorofChina. counter- as used been have could these whether and films, selected the in contained propospower,a soft analyzing, of by knowledge general the to tributed message the of policy as economic, political, learning, or counter-piracy. This dissertation has con soft powereffective tool,andtoapplyitthedomesticproduction (Su,2010). a as also but aspects, business and technological fromthe only not model, successful a from learn to films Hollywood used industry.China national Furthermore, its tect control the US influence on its population, by establishing a yearly film quota to pro to way its found hegemony,China for dispute in superpowers future the allegedly -26- RMB 100m 2005 and2012. 200 250 100 150 50 Column 4 0 Source: Entgroup, enbase entertainment database, 2012. that films primarily representimports China resultsthat The tech shown have change Chinese the behind strategies the identified has literature existing The 2005 21 intheDatasetare takenbyChinesefilms). 2006 26 2007 33 Figure 6.1 2008 43 below shows, China has already achieved the Year 2009 62 102 2010 149 2011 2012 210 - - - IBEI Working Papers • 2013/38 ------27- . Fifth Edition. Edition. Fifth . American Po London: Sage Publications. Avail Publications. Sage London: . London: Palgrave MacMillan. Palgrave . London: , 118: 104-119. Available at: http://www.jstor.org/ Available , 118: 104-119. , 77 (5): 81-94. Available at: http://www.jstor.org/ , 98 (2): 341-354. Available at: http://www.jstor.org/ Foreign Policy Global Hollywood 2 . 1995. Film. Directed by Alfonso Arau. Twentieth USA/Mexico: Foreign Affairs . 1999. Film. Directed by Bruce Beresford. USA/Germany/Canada: Qualitative Research Methods for the Social Sciences Visual Methods in Social Research. . 2007. Film. . Directed by 2007. Kong: Fo Ang Lee. USA/China/Taiwan/Hong . 2006. Film. Directed by Ronny Yu. China/Hong Kong/USA: China Film . 1997. Film. Directed by Martin Scorsese. USA: Touchstone Pictures. Touchstone USA: Martin Scorsese. by Directed Film. . 1997. Available Available at: 1, 2012]. September [accessed bff6fb5455a9.pdf http://www.mpaa.org/Resources/5bec4ac9-a95e-443b-987b- cus Features/Hai Sheng Film Production Company. Sheng Film Production Features/Hai cus mation Age. 2012]. 17, August [accessed stable/20049052 (And So What?). 2012]. 23, August [accessed stable/1149673 litical 2012]. July 25, Science [accessed stable/4145316 Review 1, 2012]. tember Paramount Pictures. Paramount base Entertainment Database. Available at: http://english.entgroup.com.cn/ 16, 2012. August [accessed enbase.html Group. Long Beach: Pearson Education Inc. Education Pearson Beach: Long 1, 2012]. afi.com/members/catalog/ [accessed September 1, 2012]. 1, September [accessed afi.com/members/catalog/ Fox. Century able 2012]. 4, at: September [accessed Methods_in_Social_Research.pdf http://www.carlosmoreno.info/upn/2012/ebooksclub.org__Visual_ In the years to come, what will be interesting to follow is what China does to Kundun Lust, Caution al.]. 2009. [et T. Miller, – Motion 2011. Association of Statistics America, Inc. Picture Market 2011. Theatrical Keohane, Keohane, R. O. and Nye Jr., J. S. 2000. Globalization: What’s New? What’s Not? Keohane, Keohane, R. O. and Nye Jr., J. S. 1998. Power and Interdependence in the Infor Gerring, J. 2004. What is a Case Study and What is it Good For?. Internet Movie Database (n.d.) Available at: [accessed Sep http://www.imdb.com/ EntGroup EntGroup (n.d.). Leading Center Research of Chinese Entertainment Industry – En Fearless Berg, B. L. 2004. 2004. L. B. Berg, September [accessed AvailableBox at:Office Mojo(n.d.)http://boxofficemojo.com/ Double Jeopardy A Walk in the Clouds 2001. M. Banks, References http://www. at: Available Films. Feature of Catalog AFI (n.d.). Institute Film American compete compete with Hollywood at a soft power level, and whether it is able to offices findbox aglobal will suc life, of way American the besides future, the In formula. cessful way of life? crave the Chinese 2013/38 • IBEI Working Papers Stockholm International Peace Research Institute. 2012. The 15 Countries with the with Countries 15 The 2012. Institute.ResearchPeace International Stockholm Shanghai Tibet in Years Seven Sabrina. Rotten Tomatoes (n.d.) Available at: http://www.rottentomatoes.com/ [accessed Sep In China. in market film the and Hollywood door: the at wolf The 2002. S. Rosen, Movies. U.S. to Market Open to China Gets House White 2012. Reuters. Corner Red Women of Pavilion China. in Collectivity and Cinema of Despair The Piracy/Privacy: 2004. L. Pang, http://www.oanda.com/curconverter.at: CurrencyAvailable OANDA (n.d.). Oanda Power.Soft and HardCombining Jr., Smart: Nye2009. Get S. J. Mtime (n.d.) Available at: http://www.mtime.com/ [accessed September 1,2012]. -28- Kingdom Forbidden The Su, W. 2011. Resisting Cultural Imperialism, or Welcoming Cultural Globalization? Chi hegemony Counter and Policy CulturalChina’s - ToBe? Not or ToBe 2010.W. Su, State Administration of Radio, Film,andTelevision –SARFT (n.d.) 2012]. http://www.foreignaffairs.com/print/65163at: Available 1, (4). July [accessed Co-Production Corporation/Relativity Media. doi/abs/10.1080/01292986.2010.539301 [accessed April3rd, 2012]. Communication of na’s extensive debate on Hollywood Cinema from 1994 to 2007. [accessed March 21,2012]. Communication Available at: http://www.tandfonline.com/doi/abs/10.1080/17513050903428091Intercultural and Strategy Toward Global Hollywood from 1994 to 2000. =ALkJrhhdPGzdCvJ7xE4al0Yvmd0-Tbhibg [accessed September 4, 2012]. &rurl=translate.google.com&sl=zh-CN&tl=en&u=http://www.sarft.gov.cn/&usg http://translate.googleusercontent.com/translate_c?depth=1&hl=en&prev=hp Available at(translated inEnglishvia GoogleTranslator): at_download/file [accessed September 1, 2012]. http://www.sipri.org/research/armaments/milex/resultoutput/milex_15/the-15-countries-with-the-highest-military-expenditure-in-2011-table/ at: Available Highest Military Expenditure in2011. pany. lay Entertainment. tember 4, 2012]. html [accessed July25, 2012]. http://lunwen.51shijuan.com/yingyu/yyxg/21937. at: Available Praeger. port: (Eds.) R.Pizarro, and J. E. Heikkila, http://www.reuters.com/article/2012/02/18/id at: AvailableUS420251887620120218 [accessed August 18,2012]. 18. February duction Corporation. mary/v031/31.3pang.html2, [accessed August 19, 2012]. Boundary rency/converter/ [accessed August 19, 2012]. 1995. Film. Directed by Sydney Pollack. Germany:USA: Paramount Pictures. . 2010. Film. Directed2010.MikaelFilm. Håfström.. byUSA/China: WeinsteinThe Com . 1997. Film.Directed by JonAvnet. USA: Metro GoldwynMayer. 31 (3): 101-124.(3): 31 Available http://muse.jhu.edu/journals/b2/sumat: . 2001. Film. Directed by Ho Yim. China/USA: China Film Co-Pro Film China China/USA: Yim. Ho byDirected Film. 2001. . . 1997. Film. Directed by Jean-Jacques Annaud. USA/UK: Manda . 2008. Film. Directed by Rob Minkoff. USA/China: China Film , 21 (2): 186-201. Available at: http://www.tandfonline.com/at: Available186-201. (2): 21 , , 3(1):38-58. Southern California and the world the and California Southern Journal of International International of Journal Foreign Affairs Foreign Asian Journal Journal Asian Reuters, . West . , 88 , ------

IBEI Working Papers • 2013/38 - - -29- , 406 Pacific Variety Jump Cut: A Review of 49: 1-25. Available at: http://www.ejumpcut.org/archive/ Available 1-25. 49: . 2006. Film. by Directed Warner John China/USA/Canada: Curran. 1993. Film. Directed by Andrew Davis. USA: Warner Bros. Warner USA: Davis. Andrew by Film. Directed 1993. , 75 (3): 419-434. Available at: http://www.jstor.org/stable/4127293 [ac , 75 (3): 419-434. at: Available http://www.jstor.org/stable/4127293 . 1997. Film. Directed by James Cameron. USA: Twentieth Century Fox. Century Twentieth USA: Cameron. James by Film. Directed . 1997. cessed February 29, 2012]. 29, February cessed Contemporary April 6, 2012]. [accessed jc49.2007/TingWang/index.html Media, (13): 6. Available at: [accessed http://iipa.chadwyck.com/marketing/index.jsp June 15th, 2012]. Affairs China Film HG Corporation. China Film Available at: [ac http://www.variety.com/article/VR1118050508?refCatId=19 2012]. 4, September cessed Wang, Wang, T. 2007. Hollywood’s pre-WTO crusade in China. Variety. 2007. Summary of the 2007. Chinese May Film 14, Variety. Policy. Industry’s R. Hollywood and J. and 2002. and Kraus, China Wan, Allies. as Adversaries The Painted Veil Titanic 20. Feb Cracked. Film Quota China’s 2012. Variety. The Fugitive. 2013/38 • IBEI Working Papers DATASET_ANNEX -30- -

D 1. UNIT NUMBER YEAR 2. RELEASE NUMBER SAMPLE 3. OFFICE POSITION CHINA BOX 4. FILM TITLE 5. 6. YEAR GENRE/sub-genre 7. Film Institute, American Source: Imdb.com) 8. DIRECTOR DISTRIBUTOR 9. OFFICE IN BOX CHINA YEARLY 10. MILLION US$ OFFICE IN MI BOX 11. US YEARLY LLION US$ VILLAINS 12. (A) OR CREW/ CAST CHINESE (B) 13. THEME IN U.S. POSITION ( C ) YEARLY 14. OFFICE BOX CREW FX VISUAL (D) 15. A B C

1 1994 1 n/a The Fugitive 1993 Drama/ Andrew Davis Warner Bros 4.10 183.80 pharmaceutical n/a 3 11 1 0 1 0 Action company

1994 percentages 100 0 100 0

2 1995 1 n/a True Lies 1994 Action James Cameron UIP 16.00 146.20 Soviet nuclear terrorists n/a 3 158 0 0 1 1

3 1995 2 n/a Die Hard With a 1995 Adventu- John McTiernan Fox 7.40 100.00 terrorist bomber n/a 10 57 0 0 1 0 Vengeance re/ Action

4 1995 3 n/a The Lion King 1994 Animation Rob Minkoff and Disney 6.50 312.80 Scar the lion n/a 2 59 0 0 1 0 Roger Allers

5 1995 4 n/a Speed 1994 Drama/ Jan de Bont Fox 5.90 121.20 bomber extortionist n/a 8 35 0 0 1 0 Action

6 1995 5 n/a Bad Boys 1995 Comedy/ Michael Bay Columbia 5.20 65.80 French drug lord n/a 27 2 0 0 0 0 Action Tristar

7 1995 6 n/a Forrest Gump 1994 Drama/ Robert Ze- UIP 3.10 329.60 n/a n/a 1 102 0 0 1 1 Comedy/ meckis Historical

1995 percentages 0 0 83,333 33,333

8 1996 1 n/a Twister 1996 Adven- Jan de Bont UIP 8.60 241.70 tornado n/a 2 120 1 0 1 1 ture/ Disaster

9 1996 2 n/a Broken Arrow 1996 Drama/ John Woo Fox 7.90 70.70 rogue Air Force pilot John Woo 20 190 1 1 0 1 Action

10 1996 3 n/a Jumanji 1995 Children’s/ Joe Johnston Columbia 7.50 100.40 n/a n/a 7 109 0 0 1 1 Adventure Tristar

11 1996 4 n/a The Rock 1996 Action/ Michael Bay Disney 7.50 134.00 renegade US Force n/a 7 47 1 0 1 0 Prison Reconnaissance Marines

12 1996 5 n/a Mission: Impos- 1996 Action/ Brian DePalma UIP 7.10 180.90 CIA rogue officers n/a 3 110 1 0 1 1 sible Espionage IBEI Working Papers • 2013/38

-31-

rean terrorist group terrorist rean

working for North Ko North for working Comedy -

n/a 4 1998 28 international criminals criminals international 30.80 6.30 Fox Gosnell Raja Children’s/ 1997 3 Alone Home 0 0 0 0 10 69 n/a

Disaster

Action/ Action/

n/a 3 1998 27 comet headed for Earth for headed comet 140.40 8.10 UIP Leder Mimi Drama/ 1998 Impact Deep 1 1 0 1 193 8 n/a

War

lberg Drama/ Ryan

n/a 2 1998 26 German forces German 216.50 12.90 UIP - Spie Steven Action/ 1998 Private Saving 0 1 0 0 50 1 n/a

Historical

Disaster/ Disaster/

n/a 1 1998 25 iceberg 600.70 56.50 Fox Cameron James Drama/ 1997 Titanic 1 1 0 1 717 1 n/a

Comedy

n/a 7 1997 24 n/a 53.60 3.10 UIP Pollack Sydney Romantic 1995 Sabrina 0 0 0 0 4 33 n/a

n/a 6 1997 23 amusement park owner park amusement 90.40 3.80 Bros Warner Pytka Joseph Animation 1996 Jam Space 1 0 0 0 122 18 n/a

Gulf War Gulf

US Army Captain in the the in Captain Army US War Fire

n/a 5 1997 22 dubious procedures of a a of procedures dubious 59.00 3.90 Fox Zwick Edward Drama/ 1996 Under Courage 0 0 0 1 26 24 n/a

designer Action Control

n/a 4 1997 21 ship’s computer system system computer ship’s 48.60 4.80 Fox Bont de Jan Drama/ 1997 Cruise 2: Speed 1 0 0 0 130 40 n/a

government Military

n/a 3 1997 20 rogue agents in the US US the in agents rogue 101.20 7.20 Bros Warner Russell Charles Action/ 1996 Eraser 1 0 0 1 118 14 n/a

son Disaster

1997 Peak Dante’s n/a 2 1997 19 UIP - Donald Roger Drama/ n/a volcano 67.10 7.50 0 0 1 241 22 1

Fantasy

Action/ Action/

Jurassic Park Jurassic lberg ture/ company

1997 World: Lost The n/a 1 1997 18 UIP - Spie Steven - Adven n/a engineering genetic 229.00 11.30 1 0 1 155 3 1

1996 percentages 1996 50 10 60 50

Clouds Romance

1995 the in Walk A n/a 10 1996 17 Fox Arau Alfonso Drama/ n/a n/a 50.00 3.20 0 0 0 15 37 0

1995 Story Toy n/a 9 1996 16 Disney Lasseter John Animation n/a n/a 191.70 5.00 1 0 0 83 1 0

Petersen Disaster from Zaire from

1995 Outbreak n/a 8 1996 15 Warner Bros Warner Wolfgang Drama/ n/a virus Ebola-like fictional 67.60 5.10 0 0 1 84 24 0

calyptic

Post-Apo -

Action/ Action/

ture/ ture/ pirates

1996 14 Waterworld n/a 7 Adven 1995 Kevin Reynolds Kevin - 5.30 UIP the Smokers, futuristic futuristic Smokers, the 88.20 n/a 1 130 12 1 0 0

Madison County Madison Drama

1996 13 The Bridges of of Bridges The n/a 6 Romance/ Romance/ 1995 Clint Eastwood Clint 6.20 Bros Warner n/a 71.50 n/a 0 n/a 21 0 0 0 2013/38 • IBEI Working Papers -32- -

29 1998 5 n/a Batman & Robin 1997 Fantasy/ Joel Schuma- Warner Bros 3.10 107.30 Mr. Freeze, Poison Ivy n/a 12 217 0 0 0 1 Action/ cher and Bane Superhero

30 1998 6 n/a Volcano 1997 Drama/ Mick Jackson Fox 2.80 49.30 volcano n/a 39 231 1 0 0 1 Disaster

31 1998 7 n/a Daylight 1996 Drama/ Rob Cohen UIP 2.50 33.00 waste management n/a 48 151 1 0 0 1 Action firm, diamond thieves

1998 percentages 57,143 0 42,857 71,429

32 1999 1 n/a Star Wars: Episode 1999 Sci-Fi/ George Lucas Fox 5.20 431.00 The Force, the Sith n/a 1 738 0 0 1 1 I - The Phantom Action Menace

33 1999 2 n/a Entrapment 1999 Romance/ Jon Amiel Fox 4.60 87.70 art thieves n/a 24 93 0 0 0 0 Suspense

34 1999 3 n/a Rush Hour 1998 Comedy/ Brett Ratner New Line 3.90 141.10 crime lord Jackie Chan 7 23 0 1 1 0 Action

35 1999 4 n/a Enemy of the 1998 Drama/ Tony Scott Disney 3.50 111.50 corrupt NSA official n/a 15 42 1 0 0 0 State Action

36 1999 5 n/a Mulan 1998 Animation Barry Cook Disney 1.70 120.60 n/a China theme 13 115 0 1 0 1

37 1999 6 n/a Tarzan 1999 Animation Kevin Lima and Disney 1.70 171.00 rogue leopardess, n/a 6 135 0 0 1 1 Chris Buck human hunters

38 2000 1 3 Stuart Little 1999 Children’s/ Rob Minkoff Columbia 2.51 140.00 mafia-like cats n/a 11 351 0 0 0 1 Fantasy Tristar

39 2000 2 4 The General’s 1999 Mystery/ Simon West UIP 2.43 102.70 corrupt US Army n/a 19 31 1 0 0 0 Daughter Military generals

40 2000 3 6 Gladiator 2000 Epic/ Ridley Scott DreamWorks 2.42 187.70 Commodus, the n/a 4 95 0 0 1 0 Historical Emperor’s son

41 2000 4 7 The Perfect Storm 2000 Adven- Wolfgang Warner Bros 2.42 182.60 thunderstorm at sea n/a 6 140 1 0 1 1 ture/ Petersen Disaster IBEI Working Papers • 2013/38

-33- Tristar tiswoode Action

16 12 2001 59 cloning corporation cloning 34.60 1.21 Columbia - Spot Roger Sci-Fi/ 2000 Day 6th The 1 0 0 1 204 73 n/a

Tristar pbell Adventure (1998)

15 11 2001 58 Don Raphael Montero Raphael Don 94.10 1.21 Columbia - Cam Martin Action/ 1998 Zorro of Mask The 0 0 0 0 23 19 n/a

Action

14 10 2001 57 the FARC the 32.50 1.21 Bros Warner Hackford Taylor Drama/ 2000 life of Proof 0 0 0 0 32 80 n/a

13 9 2001 56 Duke of Monroth of Duke 39 57. 1.45 Fox Luhrmann Baz Musical 2000 Rouge! Moulin 1 0 0 0 110 43 n/a

poration Tristar Action 2000) arts martial

12 8 2001 55 communications cor communications 125.31 1.69 Columbia McG Comedy/ 2000 Angels Charlie’s 0 0 1 1 96 14( Liu, Lucy -

Action Raider

11 7 2001 54 the Illuminati the 131.17 1.69 UIP West Simon Fantasy/ 2001 Tomb Croft: Lara 1 1 0 0 270 15 n/a

money Crime

10 6 2001 53 US Government dirty dirty Government US 69.77 2.05 Bros Warner Sena Dominic Action/ 2001 Swordfish 0 0 0 1 76 35 n/a

Annaud War Gates

9 5 2001 52 German forces German 51.40 2.05 UIP Jean-Jaques Drama/ 2001 the at Enemy 1 0 0 0 111 50 n/a

hotel owner hotel Action Zhang Ziyi Zhang

8 4 2001 51 triad gangster, billionare billionare gangster, triad 226.16 2.05 Line New Ratner Brett Comedy/ 2001 2 Hour Rush 0 1 1 0 27 5 Chan, Jackie

Action

Horror/ Horror/

mers ture/ Returns

6 3 2001 50 mummy, Scorpion King Scorpion mummy, 202.02 2.78 UIP - Som Stephen - Adven 2001 Mummy The 1 1 0 0 200 6 n/a

Tristar pbell Action

2000 Limit Vertical 4 2 2001 49 Columbia Columbia - Cam Martin Drama/ n/a K2 mountain the 69.24 2.78 0 0 0 99 35 0

Military

War/ War/

2001 Harbor Pearl 1 1 2001 48 Disney Bay Michael Drama/ n/a Forces Japanese 198.50 12.69 1 0 0 163 7 1

2000 percentages 2000 30 10 20 40

Comedy

1999 Eyes Blue Mickey 18 10 2000 47 Warner Bros Warner Makin Kelly Romantic n/a family Mafia a 33.80 0.72 0 0 0 1 61 0

House Crime

2000 Momma’s Big 13 9 2000 46 Fox Gosnell Raja Comedy/ n/a robber and criminal 117.56 1.57 0 0 0 10 17 0

ford Suspense his wife his

1999 Jeopardy Double 12 8 2000 45 UIP - Beres Bruce Drama/ n/a frame to tries husband 116.70 1.69 0 0 0 25 15 0

Eric Leighton Eric

2000 44 Animation 2000 Dinosaur 10 7 1.81 Disney Zondag, Ralph n/a n/a 137.70 1 0 0 0 157 11

Action Wachowski

2000 43 The Matrix The 9 6 Sci-Fi/ Sci-Fi/ 1999 Larry and Andy Andy and Larry 2.05 Bros Warner Agent Smith Agent 171.40 n/a 0 133 5 1 1 0

Action

Western/ Western/ Chinese Imperial Guard Imperial Chinese Jackie Chan Jackie

2000 42 Shanghai Noon Shanghai 8 5 Comedy/ Comedy/ 2000 Tom Dey Tom 2.17 Disney rogue captain of the the of captain rogue 56.90 Martial arts, arts, Martial 0 39 47 0 0 1 2013/38 • IBEI Working Papers -34- -

60 2001 13 17 The Bone Collector 1999 Drama/ Phillip Noyce UIP 1.21 66.52 serial killer n/a 34 29 0 0 0 0 Suspense

61 2001 14 21 Meet the parents 2000 Comedy Jay Roach UIP 0.97 166.20 n/a n/a 7 2 0 0 1 0

62 2001 15 31 Stepmom 1998 Drama Chris Columbus Columbia 0.36 91.14 n/a n/a 20 5 0 0 0 0 Tristar (1998)

2001 percentages 20 13,333 33,333 40

63 2002 1 2 The Lord of the 2001 Adven- Peter Jackson New Line 6.79 871.50 Dark Lord Sauron n/a 2 391 0 0 1 1 Rings: The Fellows- ture/ hip of the Ring Fantasy/ Magic

64 2002 2 3 Harry Potter and 2001 Children’s/ Chris Columbus Warner Bros 6.77 317.60 Severus Snape, Lord n/a 1 569 0 0 1 1 the Sorcerer’s Fantasy/ Voldemort Stone Magic

65 2002 3 4 Star Wars: Episode 2002 Sci-Fi/ George Lucas Fox 5.44 310.70 Count Dooku and army n/a 3 619 0 0 1 1 II - Attack of the Action of clones Clones

66 2002 4 5 Spider-Man 2002 Adven- Sam Raimi Columbia 4.95 403.70 Green Goblin n/a 1 221 0 0 1 1 ture/ Tristar Action/ Superhero

67 2002 5 6 Windtalkers 2002 Drama/ John Woo MGM 3.47 40.90 Japanese forces John Woo 61 40 0 1 0 0 War

68 2002 6 8 Mission: Impos- 2000 Drama/ John Woo UIP 3.02 215.40 rogue secret agent of John Woo 3 227 1 1 1 1 sible II Espiona- US Government ge/ Action

69 2002 7 11 Jurassic Park III 2001 Adventu- Joe Johnston UIP 2.11 181.17 dinosaurs n/a 9 167 0 0 1 1 re/ Sci-Fi/ Action

70 2002 8 12 Stuart Little 2 2002 Animation Rob Minkoff Columbia 2.06 64.96 Falcon n/a 44 376 0 0 0 1 Tristar IBEI Working Papers • 2013/38

-35-

Pearl

Curse of the Black Black the of Curse

bossa Action re/ The Caribbean:

9 6 2003 87 Captain Hector Bar Hector Captain 305.40 3.26 Disney Verbinski Gore - Adventu 2003 the of Pirates 1 1 0 0 354 3 n/a -

Mostow Action Machines the of

8 5 2003 86 Terminatrix 150.37 3.42 Bros Warner Jonathan Sci-Fi/ 2003 Rise 3: Terminator 1 1 0 0 280 8 n/a

and Lee Unkrich Lee and

7 4 2003 85 n/a 339.71 4.29 Disney Stanton Andrew Animation 2003 Nemo Finding 1 1 0 0 158 2 n/a

Wachowski Action lutions

4 3 2003 84 Agent Smith Agent 139.31 5.19 Bros Warner Larry and Andy Sci-Fi/ 2003 - Revo Matrix The 1 1 0 0 601 9 n/a

Wachowski Action loaded

3 2 2003 83 Agent Smith Agent 281.57 5.19 Bros Warner Larry and Andy Sci-Fi/ 2003 - Re Matrix The 1 1 0 0 531 4 n/a

Magic Secrets

Voldemort Fantasy/ of Chamber the

2 1 2003 82 Severus Snape, Lord Lord Snape, Severus 261.99 6.31 Bros Warner Columbus Chris Children’s/ 2002 and Potter Harry 1 1 0 0 516 4 n/a

57,895 63,158 15,789 percentages 2002 21,053

Espionage

Fantasy/ Fantasy/

Films guez ture/

19 2002 81 American techno-genius American 112.70 n/a Dimension - Rodrí Robert - Adven 2001 Kids Spy 1 1 0 0 126 17 n/a

WWII War

18 2002 80 US Army Colonel in in Colonel Army US 19.00 n/a MGM Hoblit Gregory Drama/ 2002 War Hart’s 0 0 0 1 37 109 n/a

Comedy

2000 Want Women What 33 17 2002 79 UIP Meyers Nancy Romantic n/a n/a 182.80 0.47 1 0 0 19 5 0

2002 Age Ice 31 16 2002 78 Fox Wedge Chris Animation n/a Smilodon the Soto 176.40 0.65 1 0 0 38 9 0

son

2001 Shrek 29 15 2002 77 DreamWorks - Adam Andrew Animation n/a Farquaad Lord 267.66 0.82 1 0 0 304 3 1

Comedy

2001 Serendipity 26 14 2002 76 Miramax Chelsom Peter Romantic n/a n/a 50.30 0.91 0 0 0 2 52 0

calyptic

- Post-Apo

2001 Apes the of Planet 24 13 2002 75 Fox Burton Tim Sci-Fi/ n/a apes 180.01 1.04 1 0 1 180 10 1

Diaries

2001 Princess The 22 12 2002 74 Disney Marshall Garry Comedy n/a n/a 108.25 1.12 1 0 0 18 19 0

Action arts

Police/ Police/ Tristar Jet Li, martial martial Li, Jet universe

2002 73 The One The 17 11 Sci-Fi/ Sci-Fi/ 2001 James Wong James 1.47 Columbia himself from a parallel parallel a from himself 43.90 James Wong, Wong, James 0 186 56 1 0 1

Action

2002 72 The Tuxedo The 15 10 Comedy/ Comedy/ 2002 Kevin Donovan Kevin 1.93 DreamWorks international villians international 50.55 Jackie Chan Jackie 0 71 51 0 0 1

Action cher

2002 71 Bad Company Bad 13 9 Comedy/ Comedy/ 2002 - Schuma Joel 2.05 Disney Russian black marketer black Russian 30.16 n/a 0 19 88 0 0 0 2013/38 • IBEI Working Papers -36- -

88 2003 7 10 The Medallion 2003 Comedy/ Gordon Chan Columbia 3.02 22.22 crime lord Jackie Chan, 104 41 0 1 0 0 Action Tristar Gordon Chan

89 2003 8 11 The Lord of the 2002 Adven- Peter Jackson New Line 2.90 339.7 Dark Lord Sauron n/a 2 483 0 0 1 1 Rings: The Two ture/ Towers Fantasy/ Magic

90 2003 9 14 The Recruit 2003 Drama/ Roger Donald- Disney 2.08 52.80 mole in the CIA n/a 55 1 1 0 0 0 Suspense son

91 2003 10 15 The Italian Job 2003 Drama/ F. Gary Gray UIP 2.05 106.13 rogue thief, Ukranian n/a 23 89 0 0 0 0 Crime mafia

92 2003 11 16 Charlie’s Angels: 2003 Action/ McG Columbia 1.81 100.83 Irish Mafia Lucy Liu 29 207 0 1 0 1 Full Throttle Adventure Tristar

93 2003 12 20 Catch me if you 2002 Drama Steven Spie- DreamWorks 1.45 164.61 con man Frank Abagnale n/a 11 54 0 0 1 0 can lberg

94 2003 13 21 Daredevil 2003 Adven- Mark Steven Fox 1.33 102.54 Bullseye the assassin n/a 27 211 0 0 0 1 ture/ Johnson Action/ Superhero

95 2003 14 24 Sweet Home 2002 Romantic Andy Tennant Disney 1.21 127.22 n/a n/a 19 17 0 0 1 0 Alabama Comedy

96 2003 15 25 Spy Kids 3-D: 2002 Adven- Robert Rodri- Dimension 1.21 111.76 n/a n/a 19 201 0 0 1 1 Game Over ture/ guez Films Fantasy/ Espionage

97 2003 16 26 X-2: X-Men United 2003 Sci-Fi/ Bryan Singer Fox 1.21 214.95 Colonel William Stryker Kelly Hu 6 462 0 1 1 1 Action/ Superhero

98 2003 17 27 The Core 2003 Sci-Fi/ John Amiel UIP 1.09 31.19 the Earth stops rotating n/a 90 282 1 0 0 1 Action/ Disaster IBEI Working Papers • 2013/38

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Action

22 13 2004 114 technology company technology 53.79 1.69 UIP Woo John Sci-Fi/ 2003 Paycheck 1 0 1 1 102 54 Woo John

20 12 2004 113 man-made robot man-made 144.80 1.81 Fox Proyas Alex Sci-Fi 2004 Robot I, 1 1 0 0 628 12 n/a

Tristar Action

18 11 2004 112 drug kingpin drug 116.93 1.93 Columbia Johnson Clark Drama/ 2003 S.W.A.T. 0 1 0 0 37 18 n/a

Action

17 10 2004 111 evil mine owner mine evil 47.73 1.93 UIP Berg Peter Comedy/ 2003 Rundown The 1 0 0 0 126 63 n/a

16 9 2004 110 Garfield 75.37 2.42 Fox Hewitt Peter Comedy 2004 Garfield 1 0 0 0 453 36 n/a

Side of the World the of Side

Acheron War re/ Far The mander:

14 8 2004 109 French Privateer Privateer French 93.93 2.46 Fox Weir Peter - Adventu 2003 - Com and Master 1 0 0 0 260 31 n/a

Historical

Guard hella Romance/

12 7 2004 108 a Confederate Home Home Confederate a 95.64 3.20 Miramax - Ming Anthony Drama/ 2003 Mountain Cold 0 0 0 1 47 30 n/a

Historical

Action/ Action/

11 6 2004 107 the Saxons the 51.88 3.31 Disney Fuqua Antoine Drama/ 2004 Arthur King 1 0 0 0 140 60 n/a

Magic Azkaban

Voldemort Fantasy/ of Prisoner the

10 5 2004 106 Severus Snape, Lord Lord Snape, Severus 249.54 4.68 Bros Warner Cuaron Alfonso Children’s/ 2004 and Potter Harry 1 1 0 0 588 6 n/a

Superhero

Action/ Action/

Tristar ture/

2004 2 Spider-Man 7 4 2004 105 Columbia Columbia Raimi Sam - Adven n/a Octavius Otto Dr. 373.59 6.28 1 0 0 353 2 1

War

Petersen Epic/ re/

2004 Troy 6 3 2004 104 Warner Bros Warner Wolfgang - Adventu n/a Agamemnon 133.38 7.74 1 0 0 314 13 1

Tomorrow rich Disaster

2004 After Day The 5 2 2004 103 Fox - Emme Roland Sci-Fi/ n/a warming global 186.74 9.97 1 0 1 486 7 1

Magic

of the King the of Fantasy/ Fantasy/

Rings: The Return Return The Rings: ture/ ture/

2003 the of Lord The 4 1 2004 102 New Line New Jackson Peter - Adven n/a Sauron Lord Dark 377.03 10.43 1 0 0 576 1 1

Fantasy

Comedy/ Comedy/

2003 101 Romantic Romantic 2001 Leopold & Kate 38 20 0.72 Miramax Mangold James n/a n/a 47.12 0 0 0 0 27 53

Comedy Tristar

2003 100 Maid in Manhattan in Maid 32 19 Romantic Romantic 2002 Wayne Wang Wayne 0.85 Columbia n/a 94.01 Wayne Wang Wayne 0 19 26 0 0 1

Superhero

Action/ Action/ trial complex trial

2003 99 Hulk 28 18 Sci-Fi/ Sci-Fi/ 2003 Ang Lee Ang 0.98 UIP the US military-indus US the 134.81 Ang Lee Ang - 1 282 14 1 1 1 2013/38 • IBEI Working Papers -38- -

115 2004 14 25 Shrek 2 2004 Animation Andrew DreamWorks 1.45 441.23 Lord Farquaard n/a 1 512 0 0 1 1 Adamson Kelly Asbury Conrad Vernon

116 2004 15 27 Ladder 49 2004 Drama Jay Rusell Disney 0.97 74.54 Fire n/a 38 27 0 0 1 0

117 2004 16 40 Cheaper by the 2003 Comedy Shawn Levy Fox 0.60 138.61 n/a n/a 10 9 0 0 1 0 Dozen

118 2004 17 44 Mona Lisa Smile 2003 Drama Mike Newell Columbia 0.48 63.86 n/a n/a 46 9 0 0 0 0 Tristar

119 2004 18 60 Ballistic: Ecks vs. 2002 Adventu- Wych Kaosaya- Warner Bros 0.30 14.31 Gant and his weapon Lucy Liu 126 48 0 1 0 0 Sever re/ Action nanda

120 2004 19 61 A Man Apart 2003 Drama/ F. Gary Gray New Line 0.24 26.74 drug lord n/a 98 2 0 0 0 0 Action

2004 percentages 15,789 10,526 52,632 63,158

121 2005 1 2 King Kong 2005 Adven- Peter Jackson UIP 12.63 218.08 Skull island’s natives n/a 5 602 0 0 1 1 ture/ Historical

122 2005 2 4 Harry Potter and 2005 Children’s/ Mike Newell Warner Bros 11.60 290.01 Severus Snape, Lord n/a 3 826 0 0 1 1 the Goblet of Fire Fantasy/ Voldemort Magic

123 2005 3 6 Star Wars: Episode 2005 Sci-Fi/ George Lucas Fox 9.32 380.27 General Grievous Sith n/a 1 403 0 0 1 1 III - Revenge of Action Lord and Darth Vader the Sith

124 2005 4 8 Mr. and Mrs. Smith 2005 Romance/ Doug Liman Fox 7.65 186.34 Mr. And Mrs Smith n/a 10 5 0 0 1 0 Action

125 2005 5 9 War of the Worlds 2005 Sci-Fi/ Steven Spie- UIP 6.54 234.28 aliens n/a 4 242 1 0 1 1 Action/ lberg Disaster

126 2005 6 12 National Treasure 2004 Adventu- Jon Turteltaub Disney 4.44 173.01 employer of hero n/a 9 67 0 0 1 0 re/ Action IBEI Working Papers • 2013/38

-39-

Religious

Opus Dei Opus Tristar Suspense/

3 1 2006 143 Priory of Sion and and Sion of Priory 217.54 13.20 Columbia Howard Ron Mystery/ 2006 Code Vinci Da The 1 1 0 0 239 5 n/a

59,091 54,545 4,545 13,636 percentages 2005

tary Yao

89 22 2005 142 n/a 35.59 0.10 Line Fine Stern D. James - Documen 2004 the of Year The 0 0 1 0 5 414 Ming Yao

colate Factory colate

85 21 2005 141 n/a 206.46 0.12 Bros Warner Burton Tim Fantasy 2005 - Cho the & Charlie 1 1 0 0 401 7 n/a

lberg Romance

60 20 2005 140 n/a 77.87 0.47 DreamWorks - Spie Steven Drama/ 2004 Terminal The 0 0 0 0 41 35 n/a

43 19 2005 139 trusted friend trusted 15.61 0.74 Miramax Barreto Bruno Comedy 2003 Top the from View 0 0 0 0 23 120 n/a

meckis

34 18 2005 138 n/a 182.70 1.11 Bros Warner - Ze Robert Animation 2004 Express Polar The 1 1 0 0 353 10 n/a

Lola Cirillo Lola Crime

33 17 2005 137 Max Burdett and lover lover and Burdett Max 28.33 1.12 Line New Ratner Brett Comedy/ 2004 Sunset the After 0 0 0 0 34 91 n/a

Tristar Action re/ Union

27 16 2005 136 US Secretary of Defense of Secretary US 26.87 1.79 Columbia Tamahori Lee - Adventu 2005 the of State xXx: 1 0 0 1 167 97 n/a

re/ Action re/ Phoenix

26 15 2005 135 smugglers 21.01 1.85 Fox Moore John - Adventu 2004 the of Flight 1 0 0 0 166 106 n/a

25 14 2005 134 mafioso shark mafioso 160.86 1.97 DreamWorks Letterman Rob Animation 2004 Tale Shark 1 1 0 0 162 11 n/a

Superhero

Action/ Action/

ture/ ture/

2005 Four Fantastic 22 13 2005 133 Fox Story Tim - Adven n/a Doom Doctor 154.70 2.47 1 0 0 503 13 1

Superhero

Action/ Action/

Nolan ture/

2005 Begins Batman 21 12 2005 132 Warner Bros Warner Christopher - Adven n/a psychiatrist shady 205.34 2.72 1 0 0 320 8 1

Orchid

Hunt for the Blood Blood the for Hunt Tristar Action

2004 The Anacondas: 20 11 2005 131 Columbia Columbia Little Dwight Horror/ n/a anaconda giant 32.24 3.14 0 0 0 36 86 0

Military by US Navy US by

Tristar Action/ fighter jet developped developped jet fighter

2005 Stealth 18 10 2005 130 Columbia Columbia Cohen Rob Sci-Fi/ n/a autonomous rogue 32.12 3.46 0 0 1 289 86 1

Suspense African country African

2005 129 The Interpreter The 17 9 Drama/ Drama/ 2005 Sydney Pollack Sydney 3.46 UIP president of a fictional fictional a of president 72.71 n/a 0 53 33 0 0 0

Tom Mc Grah Mc Tom

2005 128 Madagascar 16 8 Animation 2005 Eric Darnell Darnell Eric 3.48 DreamWorks the penguins the 193.60 n/a 0 172 9 1 1 0

Zorro Action pbell Tristar

2005 127 The Legend of of Legend The 13 7 Romance/ Romance/ 2005 - Cam Martin 3.78 Columbia rich Europeans rich 46.46 n/a 0 92 65 0 0 0 2013/38 • IBEI Working Papers -40- -

144 2006 2 6 Mission Impossible 2006 Drama/ J.J. Abrams UIP 10.16 134.03 rogue secret agent of n/a 14 205 1 0 1 1 III Espiona- US Government ge/ Action

145 2006 3 8 Poseidon 2006 Drama/ Wolfgang Warner Bros 8.59 60.67 100-foot wave n/a 49 466 1 0 0 1 Disaster Petersen

146 2006 4 10 Superman Returns 2006 Adven- Bryan Singer Warner Bros 7.81 200.08 Lex Luthor n/a 6 930 0 0 1 1 ture/ Action/ Superhero

147 2006 5 11 The Chronicles of 2005 Adven- Andrew Adam- Disney 7.59 291.71 white witch Jadis n/a 2 1111 0 0 1 1 Narnia: The Lion, ture/ son the Witch and the Fantasy Wardrobe

148 2006 6 12 Garfield: A Tail of 2006 Animation Tim Hill Fox 7.11 28.42 Lord Dargis n/a 98 465 0 0 0 1 Two Kitties

149 2006 7 13 Eight Below 2006 Adventu- Frank Marshall Disney 6.92 81.61 extreme cold weather n/a 27 122 0 0 0 1 re/ Drama

150 2006 8 16 Ice Age: The Melt 2006 Animation Carlos Saldanha Fox 4.53 195.33 global warming n/a 8 116 0 0 1 1 Down

151 2006 9 17 Miami Vice 2006 Mystery/ Michael Mann UIP 3.81 63.45 local drug kingpin Gong Li 43 50 0 1 0 0 Crime/ Detective

152 2006 10 18 Transporter 2 2005 Adventu- Louis Leterrier Fox 3.77 43.10 criminal gang n/a 67 41 0 0 0 0 re/ Action

153 2006 11 21 When a Stranger 2006 Horror Simon West Columbia 2.98 47.86 invasive phone calls n/a 66 24 0 0 0 0 Calls Tristar

154 2006 12 22 World Trade 2006 Drama/ Oliver Stone UIP 2.86 70.28 international terrorism n/a 37 150 1 0 0 1 Center Disaster

155 2006 13 23 Firewall 2006 Drama/ Richard Lon- Warner Bros 2.80 48.75 bank robber and n/a 68 49 0 0 0 0 Suspense craine kidnapper IBEI Working Papers • 2013/38

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ancient warlord ancient

13 7 2007 172 rogue Generals of an an of Generals rogue 135.27 4.56 Bros Warner Munroe Kevin Animation 2007 TMNT 0 0 0 0 16 46 n/a

Comedy

ture/ ture/ Museum

10 6 2007 171 n/a 250.86 8.36 Fox Levy Shawn - Adven 2006 the at Night 1 1 0 0 563 2 n/a

Espionage

Action/ Action/

Tristar pbell ture/

8 5 2007 170 International terrorists International 167.45 11.90 Columbia - Cam Martin - Adven 2006 Royale Casino 1 1 0 0 148 9 n/a

Worlds End Worlds

re/ Action re/ At Caribbean:

7 4 2007 169 Cutler Beckett Cutler 309.42 16.51 Disney Verbinski Gore - Adventu 2007 the of Pirates 1 1 1 0 884 4 Fat Yun Chow

Magic Phoenix

Fantasy/ Fantasy/ the of Order the

5 3 2007 168 Lord Voldemort Lord 292.00 19.16 Bros Warner Yates David Children’s/ 2007 and Potter Harry 1 1 0 0 836 5 n/a

Superhero

Action/ Action/

Tristar ture/

4 2 2007 167 the Sandman, Venom Sandman, the 336.53 19.50 Columbia Raimi Sam - Adven 2007 3 Spider-Man 1 1 0 0 583 1 n/a

Sci-Fi

1 1 2007 166 the Decepticons the 319.24 37.26 DreamWorks Bay Michael Action/ 2007 Transformers 1 1 0 0 429 3 n/a

65,217 30,435 4,348 17,391 percentages 2006

99 23 2006 165 wasps, pesticides wasps, 28.14 0.13 Bros Warner A.Davis John Animation 2006 Bully Ant The 1 0 0 0 190 99 n/a

Chau Sports re/

2005 Stripes Racing 53 22 2006 164 Warner Bros Warner Du Frederik - Adventu n/a n/a 49.77 0.70 0 0 0 167 58 1

Sports

2005 Goal! 50 21 2006 163 Disney Cannon Danny Drama/ n/a n/a 4.28 0.84 0 0 0 56 186 0

Sandberg Crime

Ronning, Espen Espen Ronning, Comedy/

2006 Bandidas 42 20 2006 162 Fox Joachim Action/ n/a swindler a n/a 1.25 0 0 0 42 n/a 0

2003 Duplex 34 19 2006 161 Miramax DeVito Danny Comedy n/a neighbor elderly 9.69 1.49 0 0 0 47 135 0

re/ Action re/ and a businessman a and

2005 Sahara 30 18 2006 160 UIP Eisner Breck - Adventu n/a dictator fictional Mali 68.67 1.75 0 0 0 155 35 1

Tristar

2006 Season Open 28 17 2006 159 Columbia Columbia Allers Roger Animation n/a n/a 85.10 2.02 0 0 0 285 23 1

Superhero

Stand Action/ Action/

2006 158 X-Men: The Last Last The X-Men: 26 16 Sci-Fi/ Sci-Fi/ 2006 Brett Ratner Brett 2.65 Fox Magneto 234.36 n/a 0 728 4 1 1 0

2006 157 Cars 25 15 Animation 2006 John Lasseter John 2.70 Disney n/a 244.08 n/a 0 129 3 1 1 0

Suspense Service Service

2006 156 The Sentinel The 24 14 Drama/ Drama/ 2006 Clark Johnson Clark 2.79 Fox mole in US Secret Secret US in mole 36.28 n/a 1 39 88 0 0 0 2013/38 • IBEI Working Papers -42- -

173 2007 8 15 Eragon 2006 Adven- Stefen Fang- Fox 4.53 75.03 Dark Magician n/a 31 531 0 0 0 1 ture/ meier Fantasy

174 2007 9 19 Ghost Rider 2007 Adven- Mark Steven Columbia 3.84 115.80 the Devil n/a 27 309 0 0 0 1 ture/ Johnson Tristar Action/ Superhero

175 2007 10 21 Live Free or Die 2007 Adventu- Len Wiseman Fox 3.70 134.53 Internet-based terrorist n/a 17 338 0 0 1 1 Hard re/ Action organization

176 2007 11 22 Shooter 2007 Drama/ Antoine Fuqua UIP 3.34 47.00 rogue US Colonel and n/a 59 75 1 0 0 0 Action corrupt Senator

177 2007 12 23 The Guardian 2006 Adven- Andrew Davis Disney 3.27 55.01 the sea n/a 58 134 0 0 0 1 ture/ Action/ Military

178 2007 13 25 The Bourne Ulti- 2007 Drama/ Paul Green- UIP 3.22 227.47 CIA Deputy Director n/a 7 145 1 0 1 1 matum Action grass

179 2007 14 26 Deja Vu 2006 Sci-Fi/ Tony Scott Disney 3.20 64.04 domestic terrorist n/a 42 82 0 0 0 0 Crime

180 2007 15 28 Ratatouille 2007 Animation Brad Bird Disney 2.96 206.45 n/a n/a 11 205 0 0 1 1

181 2007 16 32 Tristan & Isolde 2006 Romance/ Kevin Reynolds Fox 2.59 14.73 Irish forces n/a 135 25 0 0 0 0 Historical

182 2007 17 33 The Devil Wears 2006 Comedy David Frankel Fox 2.45 124.74 n/a n/a 17 22 0 0 1 0 Prada

183 2007 18 41 16 Blocks 2006 Drama/ Richard Donner Warner Bros 1.94 36.89 corrupt NYPD cops n/a 86 25 1 0 0 0 Suspense

184 2007 19 45 No Reservations 2007 Romantic Scott Hicks Warner Bros 1.79 43.11 n/a n/a 62 6 0 0 0 0 Comedy

185 2007 20 47 Nanking 2007 Documen- Bill Guttentag ThinkFilm 1.72 0.16 n/a Chinese 339 1 0 1 0 0 tary Theme IBEI Working Papers • 2013/38

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Superhero

Action/ Action/

ture/ ture/ Hulk

20 11 2008 201 The Abomination The 134.81 8.76 UIP Leterrier Louis - Adven 2008 Incredible The 1 1 0 0 561 17 n/a

Earth

venture the of Center

19 10 2008 200 strange creatures strange 101.70 9.91 Line New Brevig Eric - Ad Sci-Fi/ 2008 the to Journey 1 0 0 0 391 26 n/a

re/ Action re/ Secrets of Book

17 9 2008 199 black market dealer market black 219.96 10.31 Disney Turteltaub Jon - Adventu 2007 Treasure: National 1 1 0 0 127 8 n/a

betov Action

16 8 2008 198 a Fraternity of assassins of Fraternity a 134.51 11.12 UIP - Bekmam Timur Fantasy/ 2008 Wanted 1 1 0 0 344 18 n/a

rich Epic re/

15 7 2008 197 ancient warlords ancient 94.78 11.45 Bros Warner - Emme Roland - Adventu 2008 B.C. 10.000 1 0 0 0 603 31 n/a

Fantasy Caspian

ture/ ture/ Prince Narnia: of

14 6 2008 196 the Telmarines the 141.62 11.88 Disney Adams Andrew - Adven 2008 Chronicles The 1 1 0 0 922 15 n/a

Superhero

Action/ Action/

ture/ ture/

13 5 2008 195 weapons businessman weapons 318.41 13.14 UIP Favreau Jon - Adven 2008 Man Iron 1 1 0 0 484 2 n/a

Action

Tristar Fantasy/

2008 Hancock 11 4 2008 194 Columbia Columbia Berg Peter Comedy/ n/a robber bank 227.95 15.36 1 0 0 299 4 1

Emperor in China in

of the Dragon Dragon the of re/ Action re/ lle Yeoh, set set Yeoh, lle

2008 Tomb Mummy: The 9 3 2008 193 UIP Cohen Rob - Adventu Jet Li, Miche Li, Jet Emperor Dragon the 102.49 16.09 0 1 0 726 25 - 1

nage

Tristar - Espio re/

2008 Solace of Quantum 7 2 2008 192 Columbia Columbia Forster Marc - Adventu n/a businessman powerful 168.37 20.79 1 0 0 348 9 1

Osborne

venson, Mark Mark venson, martial arts martial leopard

2008 Panda Fu Kung 5 1 2008 191 DreamWorks - Ste John Animation set in China, China, in set snow the Lung, Tai 215.43 26.95 1 1 0 236 6 1

2006 Feet Happy 96 25 2007 190 Warner Bros Warner Miller George Animation n/a humans 198.00 0.39 1 0 0 620 7 1

rical

- War/Histo

2006 Flyboys 81 24 2007 189 MGM Bill Tony Drama/ n/a forces German 13.09 0.64 0 0 0 145 141 1

venture Films martial arts martial

2007 188 DOA: Dead or Alive or Dead DOA: 77 23 Action/Ad 2006 Corey Yuen Corey - 0.66 Dimension fighters 0.48 Corey Yuen, Yuen, Corey 0 96 271 0 0 1

2007 187 Shrek the Third the Shrek 57 22 Animation 2007 Chris Miller Chris 1.41 DreamWorks Captain Hook Captain 322.72 n/a 0 450 2 1 1 0

Tristar

2007 186 Click 51 21 Comedy 2006 Frank Coraci Frank 1.55 Columbia n/a 137.36 n/a 0 143 13 1 1 0 2013/38 • IBEI Working Papers -44- -

202 2008 12 21 The Water Horse: 2007 Adven- Jay Russell Columbia 8.76 40.95 n/a n/a 65 351 0 0 0 1 Legend of the ture/ Tristar Deep Fantasy

203 2008 13 24 Bolt 2008 Animation Dan Fogelman Disney 6.51 114.05 n/a n/a 22 35 0 0 0 0

204 2008 14 28 The Golden 2007 Fantasy/ Chris Weitz New Line 4.80 70.11 Mrs. Coulter n/a 39 1258 0 0 0 1 Compass Adventure

205 2008 15 34 Speed Racer 2008 Adventu- Andy & Larry Warner Bros 3.23 43.95 moguls n/a 64 780 0 0 0 1 re/ Sci-Fi/ Wachowski Action

206 2008 16 40 Next 2007 Sci-Fi/ Lee Tamahori UIP 2.41 18.21 terrorists n/a 116 137 0 0 0 1 Action

207 2008 17 45 Hellboy II: The 2008 Horror/ Guillermo del UIP 2.24 75.99 magic creatures n/a 42 409 0 0 0 1 Golden Army Action Toro

208 2008 18 51 Babylon A.D. 2008 Adventu- Mathieu Kas- Fox 1.97 22.53 Russian mob Michelle Yeoh 113 127 0 1 0 1 re/ Sci-Fi/ sovitz Action

209 2008 19 52 Fool’s Gold 2008 Romantic Andy Tennant Warner Bros 1.86 70.23 n/a n/a 45 43 0 0 0 0 Comedy

210 2008 20 65 The Pursuit of 2006 Drama Gabrielle Columbia 1.03 163.57 n/a n/a 10 32 0 0 1 0 Happyness Mucino Tristar

211 2008 21 70 27 Dresses 2008 Romantic Anne Fletcher Fox 0.72 76.81 n/a n/a 41 13 0 0 0 0 Comedy

212 2008 22 86 The Spiderwick 2008 Adven- Mark S. Waters UIP 0.36 71.20 n/a n/a 44 303 0 0 0 1 Chronicles ture/ Fantasy

213 2009 1 1 2012 2009 Sci-Fi/ Roland Emme- Columbia 68.25 166.11 earth catastrophes China saves 15 769 1 1 1 1 Disaster rich Tristar the world

214 2009 2 2 Transformers: 2009 Action/ Michael Bay DreamWorks 62.61 402.11 Decepticons n/a 2 427 0 0 1 1 Revenge of the Sci-Fi Fallen

IBEI Working Papers • 2013/38

fense obscure business obscure fense nald Suspense

60 21 2009 233 US Department of De of Department US 37.02 2.44 UIP - Macdo Kevin Drama/ 2009 Play of State 0 0 0 1 38 79 n/a -

-45-

Jr.

44 20 2009 232 evil billionaire evil 119.44 3.89 Disney Yeatman Hoyt Animation 2009 G-Force 0 0 0 0 n/a 36 n/a

roller Tristar Suspense 123 Pelham

40 19 2009 231 former Wall Street high high Street Wall former 65.45 4.42 Columbia Scott Tony Drama/ 2009 of Taking The 0 0 0 0 46 51 n/a

Adventure

39 18 2009 230 high-profile criminal high-profile 155.06 4.43 UIP Lin Justin Action/ 2009 Furious & Fast 1 1 1 0 509 17 Lin Justin

Disaster

Sci-Fi/ Sci-Fi/

38 17 2009 229 apocalypse 79.96 4.66 Summit Proyas Alex Drama/ 2009 Knowing 1 0 0 1 180 39 n/a

Conrad Vernon Conrad Aliens

37 16 2009 228 aliens 198.35 4.71 DreamWorks Letterman, Rob Animation 2009 vs. Monsters 1 1 0 0 266 11 n/a

Tom McGrath Tom Africa 2 pe

36 15 2009 227 n/a 180.01 4.97 DreamWorks Darnell, Eric Animation 2008 - Esca Madagascar: 1 1 0 0 206 8 n/a

33 14 2009 226 n/a 19.55 6.66 Summit Bowers David Animation 2009 Boy Astro 0 0 0 0 17 111 n/a

Tristar

32 13 2009 225 n/a 72.09 7.08 Columbia Ortega Kenny Musical 2009 It Is This 1 0 0 0 125 46 n/a

War

29 12 2009 224 Nazis 83.08 8.38 Artists United Singer Bryan Drama/ 2008 Valkyrie 1 0 0 0 162 35 n/a

27 11 2009 223 Nero 257.73 8.58 UIP Abrams J.J. Sci-Fi 2009 Trek Star 1 1 0 0 504 7 n/a

lution Chow Yun Fat Yun Chow

25 10 2009 222 demon Piccolo demon 9.36 9.51 Fox Wong James Fantasy 2009 - Evo Dragonball: 1 0 1 0 282 144 Wong, James

Superhero

Wolverine Action/ Action/

2009 Origins: X-Men 22 9 2009 221 Fox hod Gavin Sci-Fi/ n/a Creed Victor 179.88 11.79 1 0 0 397 13 1

Bob Peterson Bob

2009 Up 19 8 2009 220 Disney Docter, Pete Animation n/a n/a 293.00 13.95 1 0 0 207 5 1

Salvation Action

2009 Terminator: 14 7 2009 219 Warner Bros Warner McG Sci-Fi/ n/a intelligence artificial 125.32 16.44 0 0 1 482 23 1

the Smithsonian the Comedy

Museum: Battle of of Battle Museum: ture/ ture/

2009 the at Night 12 6 2009 218 Fox Levy Shawn - Adven n/a n/a 177.24 17.78 1 0 0 1 14 0

Military

Action/ Action/

Cobra mers ture/

2009 217 Adven 2009 of Rise Joe: G.I. 11 5 20.10 UIP - Som Stephen - n/a dealers weapons 150.20 1 1 0 0 623 18

Prince Magic

the Half-Blood Half-Blood the Fantasy/ Fantasy/

2009 216 Harry Potter and and Potter Harry 10 4 Children’s/ Children’s/ 2009 David Yates David 22.88 Bros Warner Dark Lord Sauron Lord Dark 301.96 n/a 0 711 3 1 1 0

the Dinosaurs the

2009 215 Ice Age: Dawn of of Dawn Age: Ice 9 3 Animation 2009 David Yates David 22.96 Bros Warner global warming global 301.96 n/a 0 123 12 1 1 0 2013/38 • IBEI Working Papers -46- -

234 2009 22 61 Australia 2008 Romance/ Baz Luhrmann Fox 2.41 49.55 English cattle barons, n/a 58 633 0 0 0 1 War Japanese forces

235 2009 23 67 District 9 2009 Sci-Fi/ Neill Blomkamp Columbia 1.86 115.65 Nigerians n/a 27 377 0 0 0 1 Action Tristar

236 2009 24 71 Twilight 2008 Romance/ Catherine Summit 1.69 192.77 n/a n/a 7 127 0 0 1 1 Suspense Hardwicke

237 2009 25 84 Bridge to Tera- 2007 Fantasy/ Gabor Csupo Disney 0.92 82.27 n/a n/a 34 192 0 0 0 1 bithia Drama

238 2010 1 1 Avatar 2009 Sci-Fi/ Ad- James Cameron Fox 203.77 760.51 Marines Colonel Miles n/a 1 1850 1 0 1 1 venture/ Quaritch

239 2010 2 5 Inception 2010 Sci-Fi/ Christopher Warner Bros 70.42 292.58 heir to a business n/a 6 266 0 0 1 1 Suspense Nolan empire

240 2010 3 7 Harry Potter 2010 Children’s/ David Yates Warner Bros 35.04 295.98 Lord Voldemort n/a 5 889 0 0 1 1 and the Deathly Fantasy/ Hallows: Part 1 Magic

241 2010 4 8 Alice in Wonder- 2010 Fantasy/ Tim Burton Disney 34.61 334.19 Red Queen n/a 2 753 0 0 1 1 land Adventure

242 2010 5 10 The Expendables 2010 Adventu- Sylvester Lionsgate 32.01 103.07 ruthless ex-CIA officer Jet Li 28 179 1 1 0 1 re/ Action Stallone

243 2010 6 12 Iron Man 2 2010 Adven- Jon Favreau UIP 26.30 312.43 Russian ex-convict n/a 3 640 0 0 1 1 ture/ Action/ Superhero

244 2010 7 13 Clash of the Titans 2010 Adven- Louis Leterrier Warner Bros 26.19 163.21 Hades, Medusa n/a 14 9 0 0 1 0 ture/ Action/ Fantasy 245 2010 8 14 Prince of Persia: 2010 Adven- Mike Newell Disney 25.23 90.76 villanous lord n/a 37 758 0 0 0 1 The Sands of Time ture/ Action/ Fantasy

246 2010 9 17 Resident Evil: 2010 Action/ Paul W. S. Columbia 22.57 60.13 Virus T n/a 55 191 0 0 0 1 Afterlife Adventu- Anderson Tristar re/ Horror

247 2010 10 26 Toy Story 3 2010 Animation Lee Unkrich Disney 17.07 415.00 n/a n/a 1 93 0 0 1 0

248 2010 11 28 Knight and Day 2010 Romance/ James Mangold Fox 14.09 76.42 rogue government n/a 45 415 1 0 0 1 Action agent

249 2010 12 30 Shrek Forever 2010 Animation Mke Mitchell DreamWorks 13.73 238.74 Rumpelstiltskin n/a 8 225 0 0 1 1 After

250 2010 13 31 How to Train Your 2010 Animation Dean Dublois, DreamWorks 13.36 217.58 n/a n/a 9 230 0 0 1 1 Dragon Chris Sanders

251 2010 14 32 Sherlock Holmes 2009 Mystery/ Guy Ritchie Warner Bros 11.89 209.03 Lord Blackwood n/a 10 244 0 0 1 1 Adventu- re/ Action

252 2010 15 33 Unstoppable 2010 Drama/ Tony Scott Fox 10.66 81.56 head of railroad n/a 41 75 0 0 0 0 Action company

253 2010 16 35 The Spy Next Door 2010 Comedy/ Brian Levant Lionsgate 10.18 24.31 Russian villains Jackie Chan, 107 61 0 1 0 0 Action martial arts

254 2010 17 37 The Sorcerer’s 2010 Adven- Jon Turteltaub Disney 9.53 63.15 malevolent wizard n/a 50 533 0 0 0 1 Apprentice ture/ Fantasy

255 2010 18 44 Wall Street: Money 2010 Drama Oliver Stone Fox 7.92 52.47 banking rivals n/a 64 42 0 0 0 0 Never Sleeps

256 2010 19 47 The Karate Kid 2010 Action/ Harald Zwart Columbia 7. 30 176.59 classmate Jackie Chan, 11 50 0 1 1 0 Drama Tristar martial arts, set in China

257 2010 20 49 Robin Hood 2010 Action/ Ridley Scott UIP 6.93 105.27 Sir Godfrey n/a 26 248 0 0 0 1 Adventure

258 2010 21 54 Legend of the 2010 Animation Zack Snyder Warner Bros 4.91 55.67 evil Pure Ones n/a 61 254 0 0 0 1 Guardians: The Owls of Ga’Hoole

259 2010 22 56 The Last Air- 2010 Fantasy/ M. Night Shya- UIP 4.63 131.77 fantastic elements n/a 19 396 0 0 1 1 bender Adventure malan

260 2010 23 57 Percy Jackson & 2010 Fantasy/ Chris Columbus Fox 4.52 88.77 gods n/a 39 494 0 0 0 1 The Olympians: Adventure The Lightning Thief

261 2010 24 84 Gamer 2009 Drama/ Mark Neveldine, Lionsgate 1.76 20.53 reclusive millionaire n/a 109 135 0 0 0 1

Suspense Brian Taylor -47- IBEI Working Papers • 2013/38 • Papers Working IBEI 2013/38 • IBEI Working Papers -48- -

262 2010 25 90 Alvin and the 2009 Animation Betty Thomas Fox 1.49 219.61 n/a n/a 9 360 0 0 1 1 Chipmunks: The Squeakquel

2010 percentages 12 12 52 76 * n/a denotes information not available or not relevant Total percentages 17,92 11,83 48,47 63,74