Download Article (PDF)

Total Page:16

File Type:pdf, Size:1020Kb

Download Article (PDF) Advances in Social Science, Education and Humanities Research, volume 341 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019) Discussion on the Cultural Confidence of Chinese Films Taking the Movie Wolf Warriors II as an Example Mengyao Hou The College of Literature and Journalism Sichuan University Chengdu, China Abstract—Wolf Warriors II as the only Chinese-language film that has entered the top 100 global box office, has won a II. COMMENT ON THE MOVIE WOLF WARRIORS II lot of reputation in Chinese market in 2017. However, its overseas box office was depressing, and few foreigners paid A. The Type of the Film attentions to it. It did receive a few film reviews, but most of Divided by the type of films, Wolf Warriors II belonged them were criticism. Some Chinese scholars believed that the to the action/military type, and was produced as the box office harvest of Wolf Warriors II in the mainland of China commercial mode of blockbuster films. The whole movie was attributed to its patriotic theme and its cultural confidence, showed dozens of light and heavy firearms, fighting vehicles but they did not mention the reasons why the film was not from off-road vehicles, tanks to warships, fighting, killing welcomed overseas. Based on a Chinese scholar, Mr. Jin Huimin's researches on cultural confidence, the author thinks and shooting between positive and negative characters, as that Wolf Warriors II does not show the cultural confidence, well as powerful explosions. Besides, the commercial style but indicates the nationalism with the features of post-colonial of this film was also reflected on its visual presentation that culturally resistance. A film like it cannot be effectively features of characters were hardly described, and fighting recognized around the world, and may do harm to China's actions were heavily emphasized. In other words, visual responsible image as a great power that is peacefully coexisting stimulation rather than story plots weighed in this movie. with countries of the world. B. The Role Setting Keywords—Wolf Warriors II; Jin Huimin; cultural The character setting in this movie was very typical in confidence; nationalism Hollywood commercial blockbusters. The heroine Leng Feng (played by Wu Jing) was set as a bloody and staunch I. INTRODUCTION superhero with the loyalty and patriotism. The villain was the Among global movies in 2017, the Chinese film Wolf mercenary leader from Europe, "Daddy" (played by Frank Warriors II was the most eye-catching one. On the world's Grillo), who was cruel and vicious. The positive and highest box office movie list, Wolf Warriors II ranked 55th negative characters were set as absolutely opposite, without at the box office of 87.03 million US dollars. However, it considering the complexity of human nature. was a fact that the 99.7% of its box office came from Chinese market, and only 0.3% came from overseas market C. The Story Plots (mainly in North America). Wolf Warriors II was not only In addition to the simple role setting, the story plots of "bleak" in overseas movie market, but also received sharp the movie basically accorded with the routines of Hollywood film criticisms from Western film reviewers. commercial blockbusters: the fighting between the positive From the perspective of Mr. Jin Huimin's cultural and negative protagonists constituted the main conflicts of confidence theory, the author believes that Wolf Warriors II the film, while the main plot of the story was rather rough shows little cultural confidence, and it actually displays a and flat. Concerned with the picture, sound effects and action nationalism with the features of post-colonial culturally design, Wolf Warriors II, a Chinese action/military film resistance. A film like it could not be effectively recognized upgraded to a "Hollywood" commercial movie under the around the world, and might do harm to China's image of a help of the international production team. However, in terms responsible country that is peacefully getting along well with of character building and story creation, the film showed an countries of the world. obvious weakness, which was lack of the reasonable performance of characters and the preciseness and the logic of story plots. Copyright © 2019, the Authors. Published by Atlantis Press. This is an open access article under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/). 346 Advances in Social Science, Education and Humanities Research, volume 341 D. The Film Review violent, bloody, exaggerated plots, and excessive deification Wolf Warriors II as an action/military commercial of Rambo's characters. Critics believed that it was extremely blockbuster, set and clearly expressed the theme of representative of the supremacy of the United States, the patriotism. The film continued to use dialogues, words and white's superiority and strong national hostility. The New images to manifest China's powerful, prestige, friendliness York Times article pointed out that Rambo is a superhero and justice. Many Chinese audiences' national pride and shaped as a "pure combat machine”, and there was no patriotism were strongly evoked by these factors. In the mission he could not accomplish. scene of the end of the film, where the Chinese power was By comparing First Blood Part II with Wolf Warriors II, heavily rendered, Leng Feng was standing on the top of a the author found that from the role setting to the plot design, truck with the arm as the flagpole, holding proudly the the latter is strikingly similar to the former. As a white savior Chinese flag high. He, just like a winner, was leading the and a lone wolf-like superhero, Rambo appeared with the truck teams fully loaded with rescued Chinese workers and power and the spirit of the Savior. He destroyed the barbaric local residents to pass through the war zone where the rebels and evil enemies with the sacred will, thus saving the world. and government forces were fighting fiercely. Concerned with the role setting, Leng Feng in Wolf Warriors The patriotism was rendered largely in this film, which II was essentially the same as Rambo. might be one reason why the film won nearly 5.7 billion "explosive box office" and received lots of good comments B. Unreasonable Imitation from domestic mainstream media in mainland China. However, when making response to netizens' criticism of However, due to its positioning as a commercial action film, Wolf Warriors II imitating Hollywood action/military it had obvious defects of cultural cognition and artistic blockbuster, and deifying Leng Feng's super combating innovation, and its performance on the patriotic theme was ability, Director Wu Jing complained in an interview: Why not based on the film art, but depended on mechanical use of did an American killing a division of the army alone and patriotic elements. having not been shot, become an awesome hero? He played a When Wolf Warriors II was bleak overseas, some Chinese soldier killing several mercenaries and didn't die, Chinese scholars still immersed in the great success of the which can't be accepted by audiences. Why? Wu Jing wanted movie in China, and attributed its success to the cultural to condemn the unfair treatment, but at the same time he confidence shown in the film, saying that Wolf Warriors II clearly recognized this unfairness by imitating the "super has shaped the image of Chinese heroes and the image of hero" mode of Hollywood blockbusters. He thought Chinese China's great power in the new era, as well as started a movie also could produce a super hero like Hollywood conversation between China and the world. In fact, Wolf movie used to. Nevertheless, he paid too much attention to Warriors II was just a popular blockbuster that could not go shaping a powerful character like Rambo, without reflecting abroad. It did not promote the communication between the rationality of the character like that. The phenomenon Chinese contemporary culture and world culture, but that Wolf Warriors II created in overseas was not welcomed, interrupted this communication by a kind of opinionated indicating that Chinese films' trying to imitate and catching expressions. So, the author believes that Wolf Warriors II did up with the "American hero" of Hollywood's to declare not show cultural confidence, but showed a nationalism of China's cultural strength was an inaccessible and post-colonial culture. contradictory path. IV. EXPRESSING CULTURAL CONFIDENCE PROPERLY III. WOLF WARRIORS II WITH LITTLE CULTURAL CONFIDENCE As for the innovation of Chinese films and overseas communication, the cultural misunderstanding from Wolf A few international commentaries on Wolf Warriors II Warriors II posed a serious question about how to correctly generally pointed out that the film only piled up the express patriotism and cultural confidence in Chinese movies. movements and military images that attracted audiences' The author believes that Mr. Jin Huimin's researches on attentions, and lacked emotional and meaningful story plots; cultural confidence can provide some useful ideas for It was not only old-fashioned, but also contained many answering such question. logical flaws. As Chris Buckley from New York Times said, even with the standard of the action type, it was also logically vulnerable. However, besides the criticism of its A. The Meaning of Cultural Confidence storyline, the international media put a sharper criticism What is the cultural confidence? Mr. Jin pointed out that towards its controversial cultural connotation, saying that the cultural confidence included not only the confidence in Wolf Warriors II was not only full of mediocrity, but also the national contemporary values of traditional cultures, but filled with the fever of nationalism. also the ability to creatively transform and innovatively develop foreign cultures, and then used them properly.
Recommended publications
  • 9780367508234 Text.Pdf
    Development of the Global Film Industry The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional produc- tion companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a “big picture” view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated develop- ment of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world. Qiao Li is Associate Professor at Taylor’s University, Selangor, Malaysia, and Visiting Professor at the Université Paris 1 Panthéon- Sorbonne. He has a PhD in Film Studies from the University of Gloucestershire, UK, with expertise in Chinese- language cinema. He is a PhD supervisor, a film festival jury member, and an enthusiast of digital filmmaking with award- winning short films. He is the editor ofMigration and Memory: Arts and Cinemas of the Chinese Diaspora (Maison des Sciences et de l’Homme du Pacifique, 2019).
    [Show full text]
  • The Rise and Fall of the Wolf Warriors
    THE RISE AND FALL OF THE WOLF WARRIORS Yun Jiang N 2020, the usually polite and us ‘chequebook diplomacy’ (aid Iconservative diplomats from the and investment to gain diplomatic People’s Republic of China (PRC) recognition vis-à-vis Taiwan) and attracted attention around the world ‘panda diplomacy’ (sending pandas to for breaking form. ‘Wolf warrior build goodwill). diplomacy’ is a term used to describe Wolf Warrior 战狼 was a popular the newly assertive and combative Chinese film released in 2015. It was style of Chinese diplomats, in action followed by a sequel, Wolf Warrior 2, as well as rhetoric. It is not the only which became the highest-grossing diplomacy-related term that China film in Chinese box office history. They became famous for this year; there were both aggressively nationalistic was also ‘mask diplomacy’ (the films, comparable with Hollywood’s shipment of medical goods to build Rambo, portraying the Chinese hero goodwill) and ‘hostage diplomacy’ as someone who saves his compatriots (the detention of foreign citizens in and others from international China to gain leverage over another ‘bad guys’, including American country). Previous years brought mercenaries. The tagline of both films 34 powerful counter-attack only when 35 being attacked’ is more like Kung Fu Panda, while wolf warrior diplomacy is more of a ‘US trait’.1 However it is characterised, the way Chinese diplomats operate reflects the attitude to diplomacy and foreign affairs of the leadership of the Chinese Communist Party (CCP). The discretionary The Rise and Fall of the Wolf Warriors The Rise and Fall of the Wolf Yun Jiang power of even the top foreign policy bureaucrats and diplomats is relatively CRISIS limited in the Chinese system.
    [Show full text]
  • 0Ca60ed30ebe5571e9c604b661
    Mark Parascandola ONCE UPON A TIME IN SHANGHAI Cofounders: Taj Forer and Michael Itkoff Creative Director: Ursula Damm Copy Editors: Nancy Hubbard, Barbara Richard © 2019 Daylight Community Arts Foundation Photographs and text © 2019 by Mark Parascandola Once Upon a Time in Shanghai and Notes on the Locations © 2019 by Mark Parascandola Once Upon a Time in Shanghai: Images of a Film Industry in Transition © 2019 by Michael Berry All rights reserved. ISBN 978-1-942084-74-7 Printed by OFSET YAPIMEVI, Istanbul No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without the prior permission in writing of copyright holders and of the publisher. Daylight Books E-mail: [email protected] Web: www.daylightbooks.org 4 5 ONCE UPON A TIME IN SHANGHAI: IMAGES OF A FILM INDUSTRY IN TRANSITION Michael Berry THE SOCIALIST PERIOD Once upon a time, the Chinese film industry was a state-run affair. From the late centers, even more screenings took place in auditoriums of various “work units,” 1940s well into the 1980s, Chinese cinema represented the epitome of “national as well as open air screenings in many rural areas. Admission was often free and cinema.” Films were produced by one of a handful of state-owned film studios— tickets were distributed to employees of various hospitals, factories, schools, and Changchun Film Studio, Beijing Film Studio, Shanghai Film Studio, Xi’an Film other work units. While these films were an important part of popular culture Studio, etc.—and the resulting films were dubbed in pitch-perfect Mandarin during the height of the socialist period, film was also a powerful tool for education Chinese, shot entirely on location in China by a local cast and crew, and produced and propaganda—in fact, one could argue that from 1949 (the founding of the almost exclusively for mainland Chinese film audiences.
    [Show full text]
  • Mainstream Cinema As a Tool for China's Soft Power
    Master’s Degree programme in Languages, Economics and Institutions of Asia and North Africa “Second Cycle (D.M. 270/2004)” Final Thesis Mainstream cinema as a tool for China’s soft power Supervisor Ch. Prof. Federico Alberto Greselin Assistant supervisor Ch. Prof. Tiziano Vescovi Graduand Alessia Forner Matriculation Number 846622 Academic Year 2017 / 2018 To the two stars that have guided me from above TABLE OF CONTENTS 1 Introduction 5 Chapter one: Soft power: a general overview and the beginning of China’s soft power era 7 1.1 Joseph Nye’s definition of soft power 7 1.2 Culture: the core of soft power 10 1.3 The entry of the concept of soft power in China and its translations 12 1.4 Hu Jintao’s speech at the 17th National Congress of the Communist Party of China and China’s first steps towards its soft power strategy 14 Chapter two: China’s focus on cultural soft power and the Chinese film industry 19 2.1 China’s investments in the film industry and films as a soft power resource 19 2.2 The situation of the Chinese film industry in the 1980s and 1990s: is Hollywood China’s lifeline? 26 2.3 Main melody films and the correlation with the China dream (( : taking the documentary Amazing China ()() and the film American Dreams in China (() as an example 32 2.4 Focus on the film Wolf Warrior II II) : a successful soft power strategy 56 Chapter three: Sino-US collaborations 65 3.1 Hollywood and China: same bed, different dreams 65 3.2 The different types of collaborations between China and Hollywood 69 3.3 Is China changing Hollywood? 78
    [Show full text]
  • IMAX China Holdings Soft Momentum After Avengers
    14 June 2018 Hong Kong EQUITIES IMAX China Holdings 1970 HK Neutral Soft momentum after Avengers Price (at 06:39, 13 Jun 2018 GMT) HK$27.60 Valuation HK$ 26.00-29.00 Key points - PER Downgrade to Neutral with TP lowered to HK$27.77 12-month target HK$ 27.77 We expect IMAX China’s BO growth to slow down after Avengers with its Upside/Downside % +0.6 network expansion peaking 12-month TSR % +1.8 We expect earnings to drop by 4% YoY in 2H18, with a 4% 18-20E CAGR Volatility Index High GICS sector Media Market cap HK$m 9,903 Event Market cap US$m 1,246 Downgrade to Neutral. IMAX China’s share price has rallied by 45% from the Free float % 32 trough earlier this year (vs +4% for HSI), on the good box office (BO) 30-day avg turnover US$m 5.1 performance of Avengers and strong 1Q. However, we expect the earnings Number shares on issue m 358.8 growth momentum going forward to inevitably slow down on the expected soft film slate and more importantly, the peaking of network installations. We expect Investment fundamentals its earnings to decline by 4% YoY in 2H18, after a +36% YoY in 1H18E, with a Year end 31 Dec 2017A 2018E 2019E 2020E Revenue m 126.5 138.6 146.9 150.7 4% 18-20E earnings CAGR. Downgrade to Neutral from Outperform. EBIT m 57.3 65.1 68.7 70.4 EBIT growth % 20.7 13.5 5.6 2.4 Impact Reported profit m 43.7 49.0 51.8 53.1 Softer momentum after Avengers.
    [Show full text]
  • The London School of Economics and Political Science a Neoliberalizing
    The London School of Economics and Political Science A neoliberalizing Chinese cinema: political economy of the Chinese film industry in post-WTO China Xiaoxi Zhu A thesis submitted to the Department of Media and Communications of the London School of Economics for the degree of Doctor of Philosophy London, March 2019 1 Declaration I certify that the thesis I have presented for examination for the MPhil/PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of 71012 words. 2 Abstract This thesis aims to investigate the industry restructuration of the Chinese film industry in the context of China integrating into the global neoliberal capitalist system since its WTO entry in 2002. By interrogating the power dynamics between the Party-state, domestic capital and transnational media capital, this thesis explores respective roles each of the three stakeholders have played in shaping the commercialization and marketization of the Chinese film industry. Methodically, this thesis primarily relies on elite interviews with industry professionals, together with critical discourse analysis of one key policy document, and secondary data collected from news outlets, trade publications, industry reports, etc.
    [Show full text]
  • Back to the Future: Imaginaries of Africa on East Asian Screens
    This is a repository copy of Back to the future: imaginaries of Africa on East Asian Screens. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/176864/ Version: Published Version Article: Nardy, D.T., Coates, J. and Coates, J. orcid.org/0000-0003-4326-1481 (2021) Back to the future: imaginaries of Africa on East Asian Screens. Open Screens, 4 (1). 2. ISSN 2516- 2888 10.16995/os.42 Reuse This article is distributed under the terms of the Creative Commons Attribution (CC BY) licence. This licence allows you to distribute, remix, tweak, and build upon the work, even commercially, as long as you credit the authors for the original work. More information and the full terms of the licence here: https://creativecommons.org/licenses/ Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Back to the Future: SPECIAL COLLECTION: THE ASIAN-AFRICAN Imaginaries of Africa on FILM CONNECTION East Asian Screens RESEARCH DEANNA T. NARDY JENNIFER COATES JAMIE COATES *Author affiliations can be found in the back matter of this article ABSTRACT CORRESPONDING AUTHOR: Jennifer Coates The Africa we see on Japanese and Chinese screens generally bears little relation to University of Sheffield, GB the geographic region and its socio-political and historical concerns. Yet since the jennifer.coates@sheffield.ac.uk popular Tarzan films that swept the 1920s Japanese box office, an imagined Africa has played a significant role in film texts that explore East Asian identities and their implications for global futures in the context of natural and man-made disaster.
    [Show full text]
  • Wolf Warrior Diplomacy”
    REPORT HOWLING DIPLOMATS: SELECT EXAMPLES OF CHINA’S “WOLF WARRIOR DIPLOMACY” 2021 EUROPEAN VALUES CENTER FOR SECURITY POLICY European Values Center for Security Policy is a non-governmental, non-partisan institute defending freedom and sovereignty. We protect liberal democracy, the rule of law, and the transatlantic alliance of the Czech Republic. We help defend Europe especially from the malign influences of Russia, China, and Islamic extremists. We envision a free, safe, and prosperous Czechia within a vibrant Central Europe that is an integral part of the transatlantic community and is based on a firm alliance with the USA. Author: Kateřina Urbancová, Analyst of the Red Watch Program, European Values Center for Security Policy Author of the foreword: Edward Lucas, Non-resident fellow at the Center for European Policy Analysis With support of: 2 FOREWORD When you have finished reading this report, watch the Wolf Warrior films, particularly the second one. Spoiler alert: Leng Feng, a Chinese Rambo, heroically routs a bunch of ruthless, incompetent Western mercenaries who are menacing valiant Chinese medical aid workers during a pandemic in Africa. Wolf Warrior 2 is not just the biggest success in Chinese movie history, it also reflects the worldview of the Chinese Communist Party (CCP) and now shapes its diplomacy. The Wolf Warrior has the qualities of a mythical hero, exposing deceit, righting wrongs and battling dangers. He is rescued from defeat against overwhelming odds by the deus ex machina intervention of a Chinese carrier battle group. Africa is the backdrop, but the message is universal: China is morally and psychologically superior to the West.
    [Show full text]
  • Decreasing Chinese Cultural Competence Level During COVID-19 and Ways to Better the Situation Danyi Yu1,*, Lujing Rui2, Yihan Jia3, Yuxin Feng4
    Advances in Social Science, Education and Humanities Research, volume 497 Proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020) Decreasing Chinese Cultural Competence Level During COVID-19 and Ways to Better the Situation Danyi Yu1,*, Lujing Rui2, Yihan Jia3, Yuxin Feng4 1Viewpoint School, Calabasas 91302, United States 2Shanghai Pinghe School, Shanghai 201206, China 3Changzhou Senior High School of Jiangsu Province, Changzhou, Jiangsu 213003, China 4Chengdu Shude High School, Chengdu, Sichuan 670041, China *Corresponding author. Email: [email protected] ABSTRACT In the following study analyzing the change in Chinese Weibo users’ cultural competence before and after exposure to Western responses Chinese media transcribes as Weibo posts, six events were selected with their top 30 most-liked comments categorized according to the code of cultural competence created through sampling previous research. The decrease in the cultural competence of Chinese Weibo users was quantified, and a suggestion of using entertainment, more specifically movies, to deepen the level of cross-cultural skills and competence was subsequently presented. Providing content analysis of the three top-grossing movies in China and qualitatively analyzing the corresponding movie reviews for each film from foreign audiences, our research demonstrates the extent of Chinese cultural competence and evaluates the degree of cultural competence the commentaries possess. With the correlation between movies and the viewers’ cultural competence proved by evidence and knowledge of primary reasons for such cross- cultural respect and understanding, we proposed the conclusion with several suggestions to improve the decreased level of cultural competence in China during the COVID-19 pandemic. Keywords: Cultural Competence, Weibo, COVID-19 Chinese history witnessed the growth of its cultural 1.
    [Show full text]
  • The Covid-19 Pandemic and the Estrangement of US-China Relations
    The Covid-19 Pandemic and the Estrangement of US-China Relations Dali L. Yang This article assesses US-China relations during the Covid-19 pandemic. Prior to the pandemic, the US-China trade war created an atmosphere of bitterness and mistrust in bilateral relations and also prompted the Chinese leadership to seek to enhance its “discourse power” through “wolf warrior” diplomacy. This atmosphere hampered US-China communi- cation and cooperation during the initial phase of the pan- demic. The unleashing of “wolf warrior” diplomacy as the pandemic spread round the world, especially in the United States, has exacerbated US-China relations and served to ac- celerate the transition of US policy toward China from con- structive engagement to strategic competition. Keywords: COVID-19, wolf warrior diplomacy, US-China trade war, US-China relations, pandemic psychology. PANDEMICS SUCH AS COVID-19 NOT ONLY CAUSE SICKNESS AND DEATH BUT also induce mega socioeconomic and psychological shocks. As the American Psychological Association states, the Covid-19 “coronavirus pandemic is an epidemiological and psychological crisis. The enormity of living in isolation, changes in our daily lives, job loss, financial hard- ship and grief over the death of loved ones has the potential to affect the mental health and well-being of many” (American Psychological Asso- ciation 2020). The pandemic has contributed to stress, anxiety, and even panic in individuals, conflict and abuse in some families, and intergroup tensions through avoidance, blame, stigmatization, and conflict over re- sources (Dubey et al. 2020). In examining the relationship between pandemics and public policy, of which foreign policy is a key dimension, much of the attention is on the harm to and protection of individuals, families, and social groups.
    [Show full text]
  • The Circulation of Chinese Cinemas in the UK: Studies in Taste, Tastemaking and Film Cultures
    The Circulation of Chinese Cinemas in the UK: Studies in Taste, Tastemaking and Film Cultures A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2017 Fraser W. Elliott School of Arts, Languages and Cultures List of Contents List of Figures ........................................................................................................... 4 Abstract .................................................................................................................... 5 Declaration ............................................................................................................... 6 Copyright Statement ................................................................................................. 7 Acknowledgements .................................................................................................. 8 The Author ............................................................................................................... 9 Introduction ........................................................................................................... 10 Studies of film circulation ............................................................................................ 11 A new methodological approach ................................................................................ 18 A note on structure ..................................................................................................... 25 1. Curiosity is Awakened: Incompatibility
    [Show full text]
  • American Film Industry Challenges in China: Before and During COVID-19 Outbreak
    Management Review: An International Journal, 15(2), 1-153 (December 31, 2020). ISSN: 1975-8480 eISSN: 2714-1047 American Film Industry Challenges in China: Before and During COVID-19 Outbreak Candy Lim Chiu College of Business & Public Management, Wenzhou-Kean University 88 Daxue Rd, Quhai, Wenzhou Zhejiang Province 325060, China Email: [email protected] Jason Lim Chiu Correspnding author Department of Business Administration, Keimyung University 1095 Dalgubeol-daero, Dalseo-gu, Daegu42601, South Korea Email: [email protected] Han-Chiang Ho College of Business & Public Management, Wenzhou-Kean University 88 Daxue Rd, Quhai, Wenzhou Zhejiang Province 325060, China Email: [email protected] Zhicheng Zu Marketing Department, University of Leeds Woodhouse, Leeds LS2 9JT, United Kingdom Email: [email protected] Received No. 8, 2020, Revised Dec. 20, 2020, Accepted Dec. 26, 2020 ABSTRACT The stagnation of the U.S. film market opened doors for Hollywood to depend on Chinese significant huge revenues, investments, and growth opportunities. Hollywood becomes a destination for 118 Management Review: An International Journal, 15(2), 1-153 (December 31, 2020). ISSN: 1975-8480 eISSN: 2714-1047 Chinese outbound capital. However, before and during the pandemic outbreak, it shows how incredibly vulnerable Hollywood is in accessing the world's biggest market. This study analyzes the challenges of the Hollywood film industry in China, such as rampant piracy, strict content censorship, US-China trade war, and the recent COVID-19 pandemic outbreak. This study sheds light on the gaps in the existing US-China relationships in the film industry. The original contribution of this research is to set guiding questions that can facilitate a strategic analysis of the film industry and how they will emerge from this crisis.
    [Show full text]