CMNS 443 Lecture Notes - Lecture 4: Disposable And Discretionary Income, Independent Film, World Trade Organization
CMNS 443 Seminar #4
September 28
One-page proposal oct 19
Title: subjects are anything relevant to Asian media and culture
Rationale – why are you choosing this topic?-- > one paragraph
Major goals of the topic (2-3 primary purposes)
Methods (qualitative/quantitative/textual) one sentence
References
3-4 ones including one or two first hand materials (gov/corporate data and trade
journal)
1st-3rd world cinema
1st world cinema: Hollywood productions
2nd world: European cinema
3rd world: Asia
presentation
focus and themes of the week
learning from non-western academia
exploring the emergence and evolution of 2 asian film powers (China and Korea)
witnessing a relationship between state influence and development of culture
witnessing how a state take a capitalist approach to cultural production
Wendy Su
Local strategies and resistance toward global Hollywood
Investigates the influence of Hollywood n China’s dosmetic film industrial culture
Examines the changing cultural policies of the Chinese stat e toward Hollywood
Background of china’s film industry
Ata crucial crossroad
Two contrasting assessments
China is the only giant film country that is not knocked down by American blockbusters
World’s third-largest film producer ; world’s second-largest film market
China is merely a low-end film production factuory for global
China’s changing policy toward Hollywood 1953-1983
Following the soviet-ystyle planned economy and ownership model
China film export and import corporation CFEIC)
Non-profit public institution
Only firm distribution agent franchised by the state
China’s film distribution network- vertical management system
Film distribution unit nationwide- affiliated with and supervised by local administration
1980s
find more resources at oneclass.com
find more resources at oneclass.com
intensification of economic reforms
film industry- employ entrepreneurial management
film studios- received only very limited gov subsides
by the end of 1980s- more than 1/3 of film studios, 39% distribution companies
1994
film administrative bureau apporoved a plan of adopting a revenue-sharing practice
considered to end the 40yr tradition of buying outdated and low grade but cheap
cforeign movies
central principle of dealing with Hollywood
all film import must serve china’s needs and national
main melody movies
strategy to compete with Hollywood movies
convey messages that cater the state
servce as one of the most important parts of the state ideological apparatus
minimize the impact of Hollywood
overall box office for domestic films continued to decline
2001
china’s accession to WTO
reform in film production
foreign and private capital was now permitted to produce in both film production
and theatre construction
Hollywood imports
China’s theatre chain system
- Gov sponsored, top-down process
- Strategies of making use of global production and distribution networks to
achieve China’s goal
- Weak market contribution but a strong government intervention
The rise of Korean cinema
Between 1985 and 1993, following the introduction of liberalization in the film market,
there was a dramatic decrease in the percentage of Korean films taking the national
market
In 1994, however, the rapid pursuit of globalization by a civilian
Lecture portion
Box office
Mexico: 0.8 bil
Australia: 0.9bil
Germany: 1.1 bil
Korea 1.6
France: 1.6
UK. 1.7mil
find more resources at oneclass.com
find more resources at oneclass.com
Document Summary
Title: subjects are anything relevant to asian media and culture. Rationale why are you choosing this topic?-- > one paragraph. Major goals of the topic (2-3 primary purposes) 3-4 ones including one or two first hand materials (gov/corporate data and trade journal) Investigates the influence of hollywood n china"s dosmetic film industrial culture. Examines the changing cultural policies of the chinese stat e toward hollywood. China is the only giant film country that is not knocked down by american blockbusters. World"s third-largest film producer ; world"s second-largest film market. China is merely a low-end film production factuory for global. Following the soviet-ystyle planned economy and ownership model. Only firm distribution agent franchised by the state. Film distribution unit nationwide- affiliated with and supervised by local administration. 1980s intensification of economic reforms film industry- employ entrepreneurial management film studios- received only very limited gov subsides by the end of 1980s- more than 1/3 of film studios, 39% distribution companies.