How important has Hollywood been in influencing Chinese filmmaking since the 1980s - Dissertation Example

?How important has Hollywood been in influencing Chinese filmmaking since the 1980s Introduction The filmmaking industry is alive and well. Based on international revenues from films, filmmaking is generally a highly profitable trade. In the current age of globalization, the impact of the filmmaking industry has also crossed borders, with Hollywood films influencing the international film industry and local filmmaking industries like China and India also impacting on the Hollywood filmmaking industry. As a result of the reciprocal interest which has emerged on filmmaking in different countries, specific influences have also emerged on how films are made in general. In the past 50 years, the Chinese film industry has had a significant influence on Hollywood filmmaking, in terms of plot lines as well as action sequences. In the past few decades however, the Hollywood film industry has taken a turn in influencing and impacting on the Chinese filmmaking industry. This paper shall now discuss how important Hollywood has been in influencing Chinese filmmaking since the 1980s. It will first provide an overview of the Chinese filmmaking industry and will be followed by a discussion on the specific influence and impact the Hollywood film industry has had on Chinese filmmaking. Body Chinese filmmaking, overview The 1980s however saw greater exploration for the Chinese filmmakers with more ventures in artistry for subjects. Contrasting themes of good and evil were also seen at this time with transformation in society gradually depicted (Media Entertainment and Arts Alliance, 2004). Significant strides and changes in film-making were seen in the 1980s with departures from traditional filmmaking and narrative. The 1990s saw significant prosperity for the Chinese film industry; moreover, foreign films were also shown in the country in the mid-1990s. Chinese films also gained international acclaim (Media Entertainment and Arts Alliance, 2004). However they were also criticized for their stylized form and disconnect with the audience. Soon enough however, young filmmakers known as the sixth generation soon emerged, releasing films which had more cinematic veneer (Fu and Desser, 2002). They secured youthfulness in their film industry and allowed for a fresh start for the industry at the turn of the millennium. Hollywood influence/impact on Chinese film industry The significant technological progress which the western world has brought into the entertainment industry impacted significantly on China (Zhu, 2003). The widespread use of television sets in Chinese homes caused an even more significant demand for such technology (Zhu, 2003). Studios also saw the need to invest in television shows, including soap operas. The market for TV commercials also emerged with increasing co-production processes made with other investors. As the 1990s drew to a close, the Chinese film industry became more diversified. The fifth and sixth generation filmmakers were more engaged in financing productions which could be released in the global setting (Zhang, 1999). The government also continued to invest in main melody films. The Chinese filmmakers also found a market in lower budget films, mostly in comedies and romances. Television shows also saw a dramatic rise in TV series productions, diversifying the options of filmmakers not just in major venture films (Zhang, 1999). More dramatic changes also emerged with the entry of China to the World Trade Organization. Its membership into the WTO and its more open market, China has sought to invite more viewers into the movie theatres with its feature Chinese films and Hollywood productions (Wheeler, 2012). About 70% of films shown in China are from Hollywood, making them a significant contributor to China’s cinematic industry. Hollywood impact on China has also been apparent in terms of the pressure it has imposed on the Chinese filmmakers, mostly in terms of developing blockbusters which can adequately compete with Hollywood films (Media Entertainment and Arts Alliance, 2004). The film by Zhang Yimou, Hero, is a Chinese production which was able to achieve such a feat, especially as it is considered a major blockbuster movie in China. Pressure to compete with Hollywood productions prompted the Chinese filmmakers to invest significantly on the film, both in the production and in the promotion of the film (Media Entertainment and Arts Alliance, 2004). Inasmuch as Hollywood has influenced Chinese filmmakers towards high-budget productions, Hollywood has also encouraged Chinese filmmakers to participate in low-budget films, especially those which can be filmed in smaller scale art houses. As such, the film Cala, My Dog was screened at the Berlin International Festival to favorable reviews (Media Entertainment and Arts Alliance, 2004). Hollywood has also taught Chinese filmmakers on how to market their films internationally. While the film Crouching Tiger, Hidden Dragon was able to gain international attention, such attention did not translate to profit for the studio with presales of the film used to finance the film’s budget (Koo and Metzger, 2009). In the case of Miramax which marketed Hero, the contract indicated that film sales beyond US$15 million would be distributed to investors. Sony studios have been a strong player in the Chinese film industry and they have assisted in the marketing of the current generation of filmmakers (Media Entertainment and Arts Alliance, 2004). They indicated their interest in investing in Chinese films in 2003 through US$100 million in the Chinese film industry. In effect, Hollywood has found a significant source of income in the Chinese industry, and Chinese filmmakers have sought to live up to the demands of Hollywood in terms of film quality and bankability (Media Entertainment and Arts Alliance, 2004). The audiovisual industry in China has undergone a significant change, one which seems to be difficult to predict. As was already mentioned above, China closed its market in 1949 and its cultural industries during those years were controlled and financed by the government (Curtin, 2007). As it opened its market however, the studio systems also changed and it allowed the international market to impact on the audiovisual market. Before such time, there was a firm rejection on the entry of Hollywood films into the country. When the markets opened, the government also announces that it was allowing the annual release of ten excellent foreign films and share revenue with the distributor (Curtin, 2007). Such action was meant to end years when low grade and cheap international movies were shown in the country. The quota of 10 films was increased to 20; however, the power to choose the production was still China’s decision. In the 1990s to the present, Hollywood films mainly made up the quota of foreign films allowed in China. Nevertheless, the success of Hollywood in the Chinese film industry has not always been an easy undertaking (Lei, 2002). China banned three movies in 1997 because of their belief that these films were anti-China. Other films from other countries also made up the quota of foreign films in the years to come, however, majority of the films are still Hollywood films. (Lei, 2002). Hollywood influence allowed for a more significant foreign opening of the audiovisual marker in China. China has now been prompted to welcome foreign investors, to allow revenue sharing in the screened films, and also to allow investments made to theatres. China however is still expected to control the film industry as well as their distribution. Hollywood influence certainly prompted China to create its first 3D IMAX movie, recruiting Hollywood specialists to bring various movie scenes to life. This was seen in the movie the Legend of Daming Place which included various 3d effects (Lei, 2002). Filming visual effects in China has evolved in a significant way for the country, especially as less physical effort in terms of stunts and action scenes have been observed with the use of special visual effects. The stunts have now become safer for actors as visual effects can instead be used to create the scenes. In the traditional sense, authenticity required working with real objects and situations, often dangerous to actors and production crews (Kong and Lent, 2006). China is still delayed in terms of its 3D and visual effects capability and requires overseas assistance to ensure quality visual effects. In cases where Hollywood assistance from experts were not sought by the filmmakers, poor quality was seen in Chinese filmmakers’ attempts, with poor box office returns further indicating failure in production (Chan, 2009). Due to the 3D and digital revolution in film technology, China was forced to adapt its filmmaking style, tools, and resources. China’s filmmakers also understand that the only way for them to catch up with the digital film setting is to work with overseas companies having the advanced experience and skills in digital production (Chan, 2009). Their concept of special effects has also shifted in so many ways, especially as they now understand the need to increase allocation in the budget for films. Traditionally, Chinese filmmakers allocate only about 10% to visual effects in the films; however, this way of thinking has changed significantly as the filmmakers have now recognized the importance of special effects technology and the need to invest more into it (Lei, 2010). The Hong Kong and Chinese film industry also gained notice from Hollywood when the Hollywood industry used martial arts traditions and incorporated these into their films, all to significant success (Chan, 2009). Hollywood commercialized martial arts in film and allowed the Chinese film industry to be a much more noticeable entity. As the Hollywood moguls profited from these Chinese-influenced films, China was also able to gain significant profits from these films. Hollywood was starting to venture internationally in the 1980s and at present has now become a global industry, infiltrating the Hong Kong and Japanese film industries (Berry and Farquhar, 2006). Live action from these countries was significantly reduced as Hollywood made some of the traditional live action processes less relevant. John Woo is a Hong Kong filmmaker whose style has been hailed by the international film audience. When he was initially venturing out into film, he was known for his high-flying action sequences which were also supported by tender moments in film (Feaster, 2011). He featured new and exciting visuals for American and for the international audiences as he also recharged the action genre which has been reduced to the violent action heroes like Arnold Schwarzenegger, Bruce Willis, and Charles Bronson. His time in Hollywood allowed his style to be somewhat watered down (Feaster, 2011). He continually adapted his style with each film, from Hard Boiled to Windtalkers, and then to Broken Arrow. He also recognized the importance of securing a sense of responsibility toward one’s subject matter, especially when managing real-life information. He acknowledged that he did change his style throughout the years. He initially sought stylishness before; however in the movie Windtalkers, he tried to be more honest in narrating the story (Feaster, 2011). He therefore focused less on the action and more on the drama. He also incorporated his experiences in China when he was younger, allowing for the cultural and family links between the characters to progress. John Woo’s use of friendship and harmony is a persistent optimism which transcends both the Hollywood and the Chinese filming process (Feaster, 2011). Woo has allowed for the marriage between these two film industries to shine through, allowing both industries to actually influence each other. The recession of the Chinese film industry has been a major source of discussion among the players in the film industry. From the mid-1990s, China has allowed the entry of selected foreign movies into its cinemas, and their impact has been a persistent focus of attention from these filmmakers (Xiaohong, 2002). In the past few decades, the US has become the largest movie exporter to China with Hollywood movies like Harry Potter and the Sorcerer’s Stone and Saving Private Ryan, among others having gained massive shares of the market. These films have become irresistible to the local filmgoers. Globalization has also established a more open trend in film viewing (Xiaohong, 2002). Where specific criteria in film importation are secured, such criteria can be used to develop and improve their own film industry. Superior quality movies having gained significant revenues are clearly lauded in China. These films provide a glimpse for China on the status quo in the global film industry. The Chinese film industry are able to observe Hollywood filmmakers and understand what they are doing and what they should do to update their technology, their distribution processes, their promotional as well as their marketing operations in order to gain global competence. Hollywood blockbusters attract film viewers and increase revenues for local cinemas (Yang, 2012). Foreign films have also increased the production of local films. As the Chinese film producers face the challenges posed by foreign films as well as the viewer’s increased sense of discernment, these producers have also been urged to improve their production concepts, to enrich their stories, and improve the distribution and marketing of their films. The Chinese government has also hastened reforms in film production as well as TV productions (Yang, 2012). The Hollywood film industry has also motivated Chinese filmmakers to make more films which appeal to the audience’s specific and changing tastes. As a result of these adjustments, more domestic films have been able to rake in significant grosses with critical reviews for these films having improved as well. Entertainment-oriented movies have also impacted on China with the Happy-New-Year comedy film by Xiaogang raking in major profits for the Chinese film industry (Xiaohong, 2002). Hollywood films have pushed the Chinese film industry into the production line system; this system is made up of a centralized distribution line with fewer dispersed theaters. Such a system has a uniform and centralized management system. There are more than 20 provinces in China with 34 cross-regional film production lines; they control about 1000 cinemas as well as ensure 90% of total film profits for the country (Xiaohong, 2002). Through this film production system, the film distribution has been regulated; moreover, the screening of bootleg films has been reduced. Significant movies within the film industry have also prompted cinema facilities to upgrade their audio and video theatres. These improvements have been able to ensure higher profits for the film industry (Xiaohong, 2002). Last year, China and the US entered into an agreement, one which increased China’s annual foreign film quota – from 20 to 34 with the additional 14 movies to be in 3D or IMAX format (Hennock, 2012). Revenue sharing was also increased with American studios agreeing to invest and co-produce Chinese films alongside domestic corporations. This agreement marks a significant progress for the Chinese film industry with dual goals being met – that of making the industry profitable while still preserving Communist values (Hennock, 2012). Hollywood has long been eyeing the large Chinese audience for many years, especially with the financial recession which plagued the US in 2008. China’s film industry during this period was at a better place with their screens increasing from 1500 to 6000 cinemas (Coonan, 2012). Revenue is expected to grow even further in the years to come. Hollywood’s imposing presence in the global community has urged the Chinese film industry to open up its doors to all the financial, artistic, and production possibilities which the Hollywood film industry can bring to China (Coonan, 2012). The struggle for China in this context is the cultural protectionism which it wants to ensure. As they are allowing their doors to open, they are also making themselves vulnerable to liberal and westernized values which imply a relinquishment of control over their citizenry, something which they are not ready to concede. Nevertheless, the impact of Hollywood on China still seeps in through the concessions and agreements which China has entered with the US and other countries. Collaborative film productions have also emerged in recent years, allowing the exchange of technology and artistry, which help improve the general quality of the Chinese and the Hollywood film industry. Conclusion The Chinese film industry and the Chinese government are both engaged in ensuring that co-production efforts with the US and the Hollywood film industry are moving forward in order to meet commercial needs of both countries. Even with the cultural tension caused by China’s opening to the foreign market, and to foreign influence, much optimism is being considered in terms of the impact of the collaborative process on China’s culture. More Hollywood production studios are being setup in China, however these openings do not significantly capture the thoughtful ways by which China is fashioning the Hollywood system to manage their industry and to still manifest their artistic and cultural preferences. The Chinese also understand the benefits of the collaboration with the Hollywood film industry, mostly as a means of boosting domestic film production. The domestic films have improved as a result of the collaboration, with new and more popular styles being integrated into the film productions. Doubts and wariness are however still persistent for both countries. China has maintained its relative resistance to foreigners in their film industry; and still the US is very much aware of the temperamental nature of the Chinese government, with fears of closed markets making them ever on guard for such possibilities. The impact of the Hollywood film industry on China is considered important, especially as such influence is providing significant profit for China. Moreover, the Hollywood influence is also impacting on the quality of film with the contribution of expert technicians from the US being a significant resource for China’s film industry. As such, the quality of Chinese film-making has improved, with improvements very much apparent in terms of visual effects, plot lines, art, promotion, and production lines. Hollywood has caused the expansion of China’s film industry with improvements seen in terms of structure and artistry. The impact has also been reciprocal as the Chinese film industry has also influenced on Hollywood in terms of filming style and related elements. The relationship between these two film industries is rich and dynamic, mostly mutually beneficial and profitable. Consequently, the overall film industry has been enriched by their strong and effective collaboration. References Berry, C. and Farquhar, M. (2006). China on screen: Cinema and nation. New York: Columbia University Press. Chan, K. (2009). Remade in Hollywood: The global Chinese presence in transnational cinema. Hong Kong: Hong Kong University Press. Coonan, C. (2012). China opens up—sort of. Variety, 426(4), p. 1. Curtin, M. (2007). Playing to the world's biggest audience: The globalization of Chinese film and TV. California: University of California Press. Feaster, F. (2011). The Hollywoodization of John Woo [online]. Available at: http://clatl.com/atlanta/the-hollywoodization-of-john-woo/Content?oid=1237311 [Accessed 09 May 2013]. Fu, P. and Desser, D. (2002). The cinema of Hong Kong: History, arts, identity. Cambridge: Cambridge University Press. Hennock, M. (2012). Boost for Hollywood studios as China agrees to ease quota on US films [online]. Available at: http://www.guardian.co.uk/world/2012/feb/20/china-eases-import-quota-hollywood-films [Accessed 08 May 2013]. Khoo, O. and Metzger, S. (2009). Futures of Chinese cinema: Technologies and temporalities in Chinese screen cultures. New York: Intellect Books. Kong, H. and Lent, J. (2006). One hundred years of Chinese cinema: A generational dialogue. London: EastBridge. Lei, Z. (2010). China still turning to Hollywood for special effects [online]. Available at: http://www.chinadaily.com.cn/m/daminggong/2010-12/14/content_11760394.htm Ma, J. (2010). Melancholy drift: Marking time in Chinese cinema. Hong Kong: Hong Kong University Press. Media Entertainment and Arts Alliance (2004). History of the Chinese film industry [online]. Available at: http://www.dfat.gov.au/fta/acfta/submissions/cfta_submission_6se05.pdf [Accessed 08 May 2013]. Wheeler, N. (2012). The role of American NGOs in China's modernization: Invited influence. London: Routledge. Xiaohong, G. (2002). What does Hollywood offer Chinese films? [online]. Available at: http://www.china.org.cn/english/2002/Nov/47455.htm [Accessed 08 May 2013]. Yang, Z. (2012). When Hollywood meets China: The film industry's relationship saga continue [online]. Available at: http://www.neontommy.com/news/2012/05/when-hollywood-meets-china-film-industrys-relationship-saga-continues [Accessed 09 May 2013]. Zhang, Y. (1999). Cinema and urban culture in Shanghai: 1922 – 1943. California: Stanford University Press. Zhang, Y. (2012). A companion to Chinese cinema. London: John Wiley & Sons. Zhen, Z. (2005). An amorous history of the silver screen: Shanghai cinema, 1896-1937. Chicago: University of Chicago Press. Zhu, Y. and Rosen, S. (2010). Art, politics, and commerce in Chinese cinema. Hong Kong: Hong Kong University Press. Zhu, Y. (2003). Chinese cinema during the era of reform: The ingenuity of the system. Michigan: Greenwood Publishing Group. Read More