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UNIVERSITY of CALIFORNIA Los Angeles Shot in Shanghai: Sino UNIVERSITY OF CALIFORNIA Los Angeles Shot in Shanghai: Sino‐U.S. Media Co‐Production in the Post‐WTO Era A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Asian Languages and Cultures by Aynne Elizabeth Kokas 2012 © Copyright by Aynne Elizabeth Kokas 2012 UNIVERSITY OF CALIFORNIA Los Angeles Shot in Shanghai: Sino‐U.S. Media Co‐Production in the Post‐WTO Era by Aynne Elizabeth Kokas Doctor of Philosophy in Asian Languages and Cultures University of California, Los Angeles, 2012 Professor Theodore Huters, Co‐Chair Professor John Caldwell, Co‐Chair “Shot in Shanghai” examines Sino-U.S. media co-production to reveal the complex negotiation between transnational commercial interests, state regulation of media, and the reform of the Chinese state-run film industry. By situating the study in the commercial center of Shanghai, the dissertation argues that the transformation of media industries exists as part of a delicate compromise between China’s hexie shehui (harmonious society—a euphemistic explanation for government control of media content) and the forces of global capital. To form a foundation for future scholarship in the fields of media studies and Chinese studies, the dissertation articulates the complexity of film co-production in the ten years between China’s accession to the WTO and the PRC’s 2011 twelfth five year plan. The dissertation introduces three central concepts that are crucial to understanding the growth of media collaboration between China and the U.S. These include the role of ii the urban brand, the importance of latter day compradors (maiban), and the growth of global production ecosystems in the PRC. By discussing the international brand of Shanghai as a place for international business in China, the dissertation argues that co- production in Shanghai de-centralizes the system of state-run film and TV production based in Beijing. Rehabilitation of the term late Qing term “comprador” (maiban) for the media co-production process engages with debates about globalization in China by highlighting how industrial collaborations (and collaborators) act as a bridge, not just a wedge, between cultures. Finally, the dissertation’s discussion of the production ecosystem reveals the studio co-production system as a site-based hierarchy of flexible cultural intermediaries who facilitate the production process. Together, these frameworks stimulate further critique of the notion of national cinemas by demonstrating the complex transcultural power dynamics imbedded within the Sino-U.S. co-production process. Ultimately, the dissertation argues that the cultural phenomena that shape film co- production—city branding, the comprador class, and the production ecosystem are not only essential for understanding Sino-U.S. media co-production, but also for comprehending cultural relations between two of the world’s largest economies. iii The dissertation of Aynne Elizabeth Kokas is approved. Seiji Lippit John Caldwell, Committee Co‐Chair Theodore Huters, Committee Co‐Chair University of California, Los Angeles 2012 iv For my Yiayia v Table of Contents Introduction………………………………………………………………………………………………………...1 Chapter 1…………………………………………………………………………………………………………...23 Cultural Convergence: Film Co‐Production in China Chapter 2…………………………………………………………………………………………………………...69 Film Co‐Production in Shanghai: Understanding Local and Global Media Capitals Chapter 3…………………………………………………………………………………………………………114 Ang Lee’s Lust, Caution and the New Shanghai Film Compradors Chapter 4…………………………………………………………………………………………………………156 The Forbidden Kingdom, The Mummy 3: The Tomb of the Dragon Emperor, and the International Production Ecosystem Conclusions and New Directions……………………………………………………………………….191 Appendix…………………………………………………………………………………………………………210 vi Acknowledgements A project like a dissertation may only have one official author page, but it is the work of an entire community (or in this case, many communities). Whenever finishing this project seemed insurmountable, I retreated to the acknowledgements page to look back with appreciation at the people who had helped me. Thinking about the generous support shared by so many got made it possible to continue moving forward. First and foremost, let me thank my family. My parents and grandparents instilled a love of learning from a very early age, while my sisters ensure that I am always improving and questioning my assumptions. I love you all. Scholars from both the fields of media studies and Chinese studies provided insight that helped this project develop into what it is today. I would like to first thank my advisors, Professors John Caldwell and Ted Huters, for their continuous support and willingness to explore new fields of knowledge with me. Professor John Caldwell’s research on media cultures of production offered essential tools for developing new approaches to the analysis of Chinese media and industrial cultures. At the same time, Professor Ted Huters’ encyclopedic knowledge of everything Shanghai was an astounding resource throughout the dissertation process. I only hope that I can mentor others in the future as they have mentored me. Support from my committee members Professor Jack Chen and Professor Seiji Lippit’s was essential to getting to this stage. Finally, committee member Professor Michael Curtin provided inspired advice on how to bridge the communities of media studies and Chinese studies, while also helping me take my work into new and exciting vii directions with the UCSB Carsey Wolf Center Media Industries Project Connected Viewing Initiative. At various stages throughout this process, different communities provided essential intellectual and financial support. The Social Science Research Council Dissertation Proposal Development Visual Culture research group headed by Vanessa Schwartz and Anne Higonnet provided an amazing space to develop my project with a group of wise mentors and peers, while also supporting my initial foray into the Shanghai media community. The Fulbright IIE program offered the chance of a lifetime to devote myself to fieldwork in Shanghai, and meet some of the most inspiring individuals I have ever had the chance to know. In particular, my fellow Shanghai Fulbrighters were the smartest, warmest family abroad I could have ever imagined. Ted Huters’ UCLA‐Fudan Translation Institute also helped me to build an amazing cohort of China scholars and friends while providing essential support to tie up final questions in the field. The scholarly community at the Getty Research Institute (GRI) provided a second intellectual home for me throughout graduate school. Sabine Schlosser made my work at the Getty possible, and I will forever hold a debt to her. I remain inspired by the scholars that I worked with at the GRI. In particular, Petra Chu, Sarah Fraser, Tom Gunning, and Ding Ning offered amazing examples of how to be a wise and generous researcher. I would also like to thank my friends in the GRI community who generously shared long lunches, elaborate Sinaloan seafood feasts, themed potlucks and krispie treats with me. They made the process of writing my viii dissertation as enjoyable as possible. You will always hold a warm place of gratitude in my heart. Many scholars in the field provided excellent formal and informal guidance along the way and should be acknowledged. In the field of Chinese cinema studies, Nick Browne, Chris Berry, Michael Berry, Jason McGrath, Stanley Rosen, Shaoyi Sun, Yiman Wang and June Yip helped me to refine my work with excellent, directed feedback. In Chinese literature, Shu‐mei Shih and David Schaberg offered rigorous training in the early stages of grad school that helped provide a strong foundation for future growth, while my graduate school cohort offered useful feedback as I developed my project. My students constantly inspired me with their creative perspectives and vibrant enthusiasm for learning. In the field of media studies, Toby Miller, Nitin Govil, the Carsey Wolf Center Connected Viewing Initiative team offered essential insights into the growth of my project in relation to the study of the media industries. I would also like to express my eternal thanks for the kind, steadfast mentorship of the late Teshome Gabriel, who was the first to encourage me to write about contemporary Chinese media. My dear friends offered endless support throughout this project. Rania Succar, Steve Paulikas, and Sanjeevi Krishnan offered stories, ideas and motivation whenever things got tough. Kim Gordon, Charles Babb and Christos Apartoglou never ever let me doubt myself. My friends from the Asia‐Pacific Arts/Asia Media community were the best screening/eating partners anyone could ask for and continue to refine my understanding about media in East Asia. I would like to send special thanks to Brian Hu and Chi Tung for being such loyal friends through the ix good, the bad and the KTV. The Trepantech team in Shanghai offered priceless insights into Chinese social media community while also generously making sure that I could write in a space with lightning fast wireless and constant good humor. My fellow East‐West Center alumni continuously surprised me throughout the dissertation process with their endless capability to inspire in even the farthest corners of the globe. In particular, I would like to thank Thinley Choden, Supranee Liang, Yuki Lin, Jenine Mak, Maliwan (Buay) Pattanachaisiri, Iris Prasetyo, and Zhao Zhengge for generously guiding me when I was away from home. I would
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