Hollywood Cinema Has Begun to Deal Differently with China over the Last Years - Case Study Example

The Driving Force on Hollywood’s Changing Representation of Chinese Subjects Politics or Commercial considerations? Table of Contents Topic Page No. I- Introduction 3 II- Conventional Treatment of Chinese Subjects in Hollywood’s Films 3-5 III- Racial Discrimination from the Dominant Culture 5-6 IV- Rationale Behind Hollywood’s Better Treatment of Chinese Subjects 6-10 V- China’s Economic Potential and Chinese Talents 10-11 VI- Conclusion 12 VII- Bibliography 13 I- Introduction The American’s thirst for the exotic during the Great Depression inspired Hollywood to create films based entirely on a non-western setting. Hollywood focused its film production to what they term as people with “colourful personalities”1 dwelling in a strange land with exotic names and sounds that can induce a certain atmosphere for the American audience. This was China and the Chinese in the eyes of Hollywood filmmakers, a decorative enhancement to the film, a strange entity that “do not speak and are only to be looked at”2, and just another backdrop to the white man’s display of superiority. Apparently, Hollywood filmmakers dissuade direct engagement with a Chinese character by using white actors in Chinese roles parallel to Broken Blossoms in 1919, Charlie Chan, and more3. These actors actually went to the extent of distorting their natural ethnic characteristics into an exaggerated depiction of a Chinese. II- Conventional Treatment of Chinese Subjects in Hollywood’s Films The 1952 film Hong Kong is another western breed story about a former American GI who rescued an orphan Chinese boy and gave him a new life. The story is unpretentious and it could in fact transpire anywhere, nevertheless the film seemingly capitalizing on the title itself alone, since most of the shots were actually taken somewhere in the U.S. Moreover, the Chinese Revolution, which is theoretically the core of the quandary, is not even a background but merely a pretext to situate the main lead of the story into a sequence of events. In the end, the heroic 1-3 taken from Ko S.N., 2004, Under Western Eyes, Hong Kong Film Critic, online, 07/20/07, http://sunzi1.lib.hku.hk/hkjo /view/35/3500485.pdf, pages 19-20 American lead character repudiated to abandon the Chinese orphan refugee, saved him, and gave him a new beginning. On a closer look, the essence of the film is all about American’s superior character with a strong political message, since such film portraying atrocious deeds of communist Chinese predominantly at that time, can enunciate the U.S. political perception against the communist in China. The film was no accident; in fact, another film was created in the same tradition after three years 4. Although the 1955 Love a Many Splendoured Thing did not exploit the name of a region in China, and it did not engage on the exoticism or onomatopoeic value of region’s name, there is still a resounding manifestation in its point of view. The film revolves around the 1950-1953 North and South Korean War, which the Peoples Republic of China and the Soviet Union supported the North. The other message of the film is also analogous to Hong Kong’s ‘saving a Chinese’ or “Free China”5 finale, but conveyed through a love relationship where the leading man wants to “save” his Eurasian doctor girlfriend, from a life dedicated to saving others. Although the film lacked a more sophisticated view, it has still managed to impart the emblematic American notion of how life should be lived, which distinctively impertinent to the communist Chinese way of life. A few years later, a film entitled The World of Suzie Wong dealt with the shortcomings of Love. This 1960 Hollywood hit, managed to link a character enduringly to a place (Wanchai in Hong Kong) and consequently the standpoint of the film becomes significant. It has presented a more progressive comprehension of the place6, Hong Kong, a city of some repulsive exoticism and ambiguous allure. More importantly, it has identified the relationship between class and space – the bank, elegant restaurant, and lavish 4-5 taken from Ko S.N., 2004, Under Western Eyes, Hong Kong Film Critic, online, 07/20/07, http://sunzi1.lib.hku.hk/hkjo /view/35/3500485.pdf, pages 21-26 6 is a narrative representation of Hong Kong as region of China homes are spaces that under Western eyes is a sort of western isolation from the Chinese exoticism or dearth7. The same form of singularity and ethnic isolation in Hollywood still exist in the 1980’s in such films as The Last Affair, Love Massacre, and An Autumns Tale8. Notwithstanding Chinese development, their interaction and treatment with indigenous populace is either deficient or belligerent. Sadly, Hollywood’s brand of muted racial discrimination towards the Chinese is also evident in some Hong Kong films. III- Racial Discrimination from the Dominant Culture Hollywood is white, and white has a lengthy history of racial discrimination. If we ever going to see Hollywood transform its concept of film making absolutely towards their indigenous subjects, then it is probably greatly predisposed by the white race change of perception. The harsh reality of being marked as a minority with an inferior identity is not by nature, but externally imposed through centuries of discrimination practice by the self-appointed dominant culture, who unfortunately, is an expert in marginalizing the other9. To understand the Hollywood’s negative treatment of Chinese subjects, we must first unearth the origin such racial prejudice. According to Ang (1998)10, there are two kinds of Chinese, and therefore there are two kinds of sentiment. The culturalist sentiment of a Chinese living in the homeland that are associated with patriotism and cultural heritage handed down from generations to generation, separates them from a Chinese in Diaspora. A Chinese born and raised in other country do not have the same intensity of sentiment as those born and living in the ancestral homeland. Chinese 7-8 taken from Ko S.N., 2004, Under Western Eyes, Hong Kong Film Critic, online, 07/20/07, http://sunzi1.lib.hku.hk/hkjo /view/35/3500485.pdf, pages 21-26 9-10 taken from Ang Ien, 1998, Can one say no to Chinesesness? Pushing the limits of the diasporic paradigm, Boundary 2, Fall 1998, Volume 25, Issue 3, pages 1-14 in Diaspora, who settled in most parts of the world in a chequered history of numerous centuries of dispersal from the motherland, probably already lost their cultural content. However, this does not necessarily mean they also lost their racial identity. The scientific concept of race in the west do not make a distinction between a Chinese living, born, and raised in or out of their homeland, but from the key racial “markers”11 such as colour of the skin and other evident physical features. This is the primary reason why the concept of race continues to succeed and carry out in practice as an accepted and justified belief of ethnic distinction. In addition, racial belonging triggers a reductionist form of misrecognition that put the subject into a line of descent predestined by blood. In a more simplified term, race provides a convenient shortcut to assess a person’s character. It is therefore clear that its chronological, cultural, and political root decreases a Chinese social prominence. In a comparable manner, being Black or Blackness is not enough. What a black subject do, his actions, his political thinking, and others are all elements of his ethic peculiarity12. This is the persistent racial concept in Hollywood, and as we discussed earlier, is white. IV- Rationale behind Hollywood’s Better Treatment of Chinese Subjects Hollywood’s gradual change and encouraging treatment to the indigenous in the last 20 years does not simply materialize from their own initiative. There are varying significant factors in and outside Hollywood that contributes to their heartening attitude and healthier fascination on Chinese subjects. We cannot ignore the fact that racism is not a matter of individual development but identified by blood and cultural prominence. It is therefore strenuous to believe that such 11 coined by the western scientific perception of race, a shortcut to racial identity. page 1 12 Ang Ien, 1998, Can one say no to Chinesesness? Pushing the limits of the diasporic paradigm, Boundary 2, Fall 1998, Volume 25, Issue 3, page 16 constructive outlook towards Chinese subjects could transpire sincerely without a veiled strategy. What is the authentic motive behind the change? Olson (2001) made his opening remark by saying, “Hollywood was the apotheosis of indigenous, authentic culture”13. Olson (2001) perhaps failed to watch films created by Hollywood from the 1940’s to the 1980’s as he is not aware of how it was then. However, this paper will not argue to Olson or to anybody else who believes that Hollywood was the apotheosis of indigenous people, but rather raise some important points from Olson’s own article. The plodding change in the representation of Chinese subjects in Hollywood (as we discussed earlier), came form different factors and one of them is the audience itself. There were times in our history that certain western countries were not too enthusiastic about Hollywood films. For instance, France tried to curb the amount of Hollywood films from the premise that American values are being exported through the media. Moreover, there were times when indigenous cultures are also vigorously fighting and resisting the importation of Western media to their country. However, according to Olson (2001)14, these things have passed; now resistance by indigenous cultures is replaced by hybridist attitude towards contemporary cultures. The reason for the abrupt change is the Hollywood’s extrication from the claws of American controlled aesthetic concept. At present, Hollywood is not just a glamorous place in California and its aesthetic is global, and therefore generated a trans-national appeal. Brazil, Hong Kong, and other production centre unified in California to reach worldwide audiences. 13 Olson Scott, 2001, Hollywood Goes Global - Why Hollywood Isn't American Anymore, World and I, Feb 2001, v16 i2, p263 14 Olson Scott, 2001, Hollywood Goes Global - Why Hollywood Isn't American Anymore, World and I, Feb 2001, v16 i2, pages 263-265 Pursuing Hollywood tradition, production centres in Hong Kong is now “Hollywood of the East” much like the “Bollywood” of India. The impulsive change in Hollywood aesthetic can be illustrated by a metaphor when 32 photographs of various ethnic faces were morph together into a single face. The audience were then asked to rate the 32 original plus 1 synthetic image. The result mostly favoured the combined face, which they found warmer, prettier, and more familiar. Some expert concluded that it is typicality; a feature that is common to all is what makes it attractive. This means appealing images always have an average feature underneath which makes television, and movies succeed in the international marketplace, as people tend to perceive elements of themselves in them. Another reason why national media centres are more successful in international market is the fact, that they do not enforce political coercion like the Americans.15 In addition, they do not push movies into countries that do not like them. The victory of the new alliance of film centres (Brazil, Hong Kong, and U.S.) is in the volume of domestic demand. The audience is now anticipating a global brand of aesthetic that has an identifiable characteristic that can satisfy their longing for a familiar and practical entertainment (Olson 2001)16. The above is the driving force behind the sudden change of Hollywood’s representation of Chinese subjects in terms of commercial value. The west, finally realize that it is more profitable to give more emphasis on the identity of a unique indigenous culture on film, than forcing an American ideology. The alliance of film centres effort to deliver films with global aesthetic, free from American control, can definitely enhance and expand sales of Hollywood films. The commercial consideration probably comes first since Hollywood is primarily a 15 Olson Scott, 2001, Hollywood Goes Global - Why Hollywood Isn't American Anymore, World and I, Feb 2001, v16 i2, pages 263-265 16- Olson Scott, 2001, Hollywood Goes Global - Why Hollywood Isn't American Anymore, World and I, Feb 2001, v16 i2, page 269 business, and not identified as a political arm. There may have been some films with embedded American ideology, but this is not the general trend in Hollywood as a whole. The Barboza (2005)17 New York Times article entitled “Hollywood sees the future in China”, will give us some view of the commercial value of China in the eyes of Hollywood. According to his article, some of the major studios are considering to invest in mainland China in the next few years, as the China’s film industry is rapidly increasing. Columbia Tristar Pictures and Warner Brothers already started making a lot of investment in China (Trombly 2007)18. Walt Disney Pictures on the other hand, is also planning to do a remake of Snow White that would be shot in the mainland itself. In addition, they will even go as far as replacing the traditional seven dwarfs with Shaolin monks for a real-live martial arts action. The rising economy of China, the cheap cost of production, and the popularity of Chinese martial arts (Crouching Tiger and Hidden Dragon released in year 2000)19 are the main points of Western investments. Today, the West no longer considers China as a poor and “exotic” culture, and most importantly, no longer just a backdrop of western superiority. Western investors perceive China as the economic giant of the future and investing now is probably the most intelligent business decision. “China is going to grow, so a lot of companies want to come here and produce films”20 as Li Chow, General Manager of Columbia Tristar Film Distributors imagines the trend. One remarkable change is the willingness of these Hollywood executives to produce and invest in movies with a Chinese theme or presented in Chinese language. Additionally, they also recognized the talents 17-19-20 Barboza David , 2005, Hollywood sees a future in China, The New York Times, online, date of access: 07/20/07, http://www.iht.com/articles/2005/07/03/business/film.php, page 1. 18 Trombly Richard, 2007, Shanghai Film Festival reinvents itself as gateway event, Hollywood Reporter Online, date of access: 07/20/07, http://www.hollywoodreporter.com/hr /content_display/ international/features/e3if2986c188a48d9db4760298b9808fb3d, page 2. of China’s film directors in delivering quality and top grossing films. These changes are indeed a complete metamorphosis of Hollywood’s discriminatory tradition. It is hard to imagine that the exact people who consider the Chinese as an “entity who do not speak and are only to be looked at”21 in films 20 years ago, is now giving the Chinese the opportunity to act and speak their minds out. If this is the case, then Olson (2001)22 is right that Hollywood is no longer the “Hollywood of America”, but a global film centre. This is a new Hollywood, independent of Western aesthetic and racial discrimination. V- China’s Economic Potential and Chinese Talents In other development, China’s box office sales compared to the United States is small. However, analyst believed that the domestic market would grow to around $1.2 billion by year 200723. In addition, western investors will also draw on China’s potentially lucrative entertainment medium such as television, internet, gambling and cell phone markets. Nevertheless, right now, Columbia Tri-star is the most aggressive western film outfit operating in China. It has already produced top grossing films like Kung-Fu Hustle, House of Flying Daggers, and the Road Home. Alternatively, Time Warner focused their investments on joint ventures, devoting their finances on more than 70 movie theatres as groundwork for the “theatre-going boom”24. The 1.3 billion or 81% of China’s total population is what filmmakers hope to 21 taken from Ko S.N., 2004, Under Western Eyes, Hong Kong Film Critic, online, 07/20/07, http://sunzi1.lib.hku.hk/hkjo /view/35/3500485.pdf, pages 19-20 22- Olson Scott, 2001, Hollywood Goes Global - Why Hollywood Isn't American Anymore, World and I, Feb 2001, v16 i2, pages 263-265 23 taken from Barboza David, 2005, Hollywood sees a future in China, The New York Times, online, date of access: 07/20/07, http://www.iht.com/articles/2005/07/03/business/film.php, page 1. 24 Barboza David, 2005, Hollywood sees a future in China, The New York Times, online, date of access: 07/20/07, http://www.iht.com/articles/2005/07/03/business/film.php, page 1. take advantage in the near future. However, the present film import-approval and the quota of only 20 foreign films per year are holding them tight25. The potential of China to be an economic giant in the near future is not sufficient to rationalize the claim that Hollywood indeed changes its representation of Chinese subjects in films. Hollywood maybe a global film centre now, but the majority of company coming in for investment are Americans. Logically, if the West rationale in appreciating China or the Chinese is purely profitable investment, then the change in representation of Chinese subjects is mere diplomacy. The real thing according to Sardar (2000)26 is the invasion of Chinese actors in Hollywood. For instance, in the action comedy show Marshall Law, the lead character is an icon of Hong Kong action cinema. Sammo Hung no doubt is a genuine Chinese, acting as a Los Angeles hero, in the land of the dominant race. This is a clear indication of the changes in the traditional representation of Chinese subjects in the American cinema. Normally, Sardar (2000)27 explained, a Chinese will be represented as an undependable, dull, voracious, illogical, and sexually hungry for white women, foolishly believing in honour and family loyalty, and a drug addict. On the contrary, Sammo Hung in this TV show plays the role of an intelligent, entertaining and completely responsible Chinese hero, a pleasing and extremely gentle well-being. 25Trombly Richard, 2007, Shanghai Film Festival reinvents itself as gateway event, Hollywood Reporter Online, date of access: 07/20/07, http://www.hollywoodreporter.com/hr /content_display/ international/features/ e3if2986c188a48d9db4760298b9808fb3d, page 1. 26-27 Sardar Ziauddin, 2000, China syndrome: Stereotypes - Ziauddin Sardar on the transformation of the Chinese from baddies to goodies, online, 07/20/07, http://www.newstatesman.com/200005220045, page 1. VI- Conclusion “Representation is function of power”28. A Chinese Hollywood hero in American television is an indication of China’s great influence in global politics and recognition that the Chinese population around the world constitute to half of the global market. The Chinese turn into “us” instead of “them”29, and importantly, perceived as an essential part of western culture and society. The Chinese are now both behind and in front of the camera, a good indication that they can freely represent themselves in western civilization. The emergence of successful Chinese directors, Ang Lee and Wayne Wang, and the transfer of Hong Kong action cinema led by John Woo, drove these developments to Hollywood. American films such as Broken Arrow, Hard Target, Matrix, and more, were products of reliable Chinese filmmakers30. It is now clear that the real driving force behind the changes in Hollywood’s representation of Chinese subjects in films came from both politics and commercialism. The western civilization finally realizes the potential and significance of China and the Chinese in global economics and the film industry. The Chinese people, who were just an exotic and inferior race for the Western eyes, are now prominent figures in the Western world. 28-30 taken from Sardar Ziauddin, 2000, China syndrome: Stereotypes - Ziauddin Sardar on the transformation of the Chinese from baddies to goodies, online, 07/20/07, http://www.newstatesman.com/200005220045, pages 1-3 VI – Bibliography Ang Ien, 1998, Can one say no to Chinesesness? Pushing the limits of the diasporic paradigm, Boundary 2, Fall 1998, Volume 25, Issue 3 Barboza David, 2005, Hollywood sees a future in China, The New York Times, online, date of access: 07/20/07, http://www.iht.com/articles/2005/07/03/business/film.php Ko S.N., 2004, Under Western Eyes, Hong Kong Film Critic, online, 07/20/07, http://sunzi1.lib.hku.hk/hkjo /view/35/3500485.pdf Olson Scott, 2001, Hollywood Goes Global - Why Hollywood Isn't American Anymore, World and I, Feb 2001, v16 i2, p263 Sardar Ziauddin, 2000, China syndrome: Stereotypes - Ziauddin Sardar on the transformation of the Chinese from baddies to goodies, online, 07/20/07, http://www.newstatesman.com/200005220045 Trombly Richard, 2007, Shanghai Film Festival reinvents itself as gateway event, Hollywood Reporter Online, date of access: 07/20/07, http://www.hollywoodreporter.com/hr /content_display/ international/features/e3if2986c188a48d9db4760298b9808fb3d Read More