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Hollywood domination of the Chinese kung fu market
Abstract
This paper examines the cultural significance of three emerging Chinese kung fu films in their recent box office success in global film market. The paper aims to provide an integrative framework that shows how Hollywood's global dominance in both film consumption and production contributes to the success of the newly Chinese Kung Fu films. Focusing on marketing strategies of Crouching Tiger, Hidden Dragon, Hero and House of Flying Daggers, this study argues that the economic success of the three films represent further regulation of Hollywood. In production, the NICL thesis is at work with a particular collaboration pattern among the transnational Chinese film talent communities. In distribution and exhibition, this paper contends that global box office achievement fails to contribute directly to any Chinese film industry. Autonomy is seen between Hollywood film majors and Chinese filmmakers when consumption of these films becomes a global phenomenon.
... Its historically martial arts genre was the most favorite Chinese film style for international audiences. The film was made with a budget of US$30 million (Chung 2007, 418 ...
... The release strategy adopted wide-release exhibition in both domestic and international markets. The huge economic success of Hero, with the box office revenue of US$177 million (Chung 2007, 420) totally, essentially influenced the direction and rapidity of the film reform. ...
... They also successfully cultivated cinematic narratives that bridged the East-West cultural divide and brought Chinese cinema into the global realm to compete with Hollywood movies for Oscars. 38 In recent years, Hollywood has started to imitate Chinese kung fu films. For instance, DreamWorks Animation released Kung Fu Panda I (2008), II (2011), and III (2016) to global acclaim. ...
The popularity of Chinese kung fu has gone global in recent years, with martial arts movie stars like Bruce Lee, Jet Li, and Jackie Chan having significantly contributed to it. Through topic modelling and sentiment analysis, this study examined a total of 3,542,799 tweets relating to ‘kung fu’ between 1 January 2007 and 31 December 2019, presuming that Twitter is an important social media platform in disseminating the image of kung fu worldwide. We discovered that kung fu-related tweets mainly focused on two topics: ‘kung fu movies’ and ‘kung fu per se’. The majority of the tweets (76.9%) were neutral in tone, and negative and positive ones were 6.0% and 17.1% respectively. Both the time series and topic modelling revealed that the Kung Fu Panda series contributed greatly to the worldwide spread of kung fu on social media. The global popularization of kung fu is also a result of cultural appropriation, and it plays a significant role in embellishing the Western imagination of Chinese traditional culture through stereotypical perceptions of the ‘oriental others’.
This article used as point of departure the Ngano song-story entitled The Greedy Hippo as developed by Christiaan van der Westhuizen and based on the Tambani embroidery project. This animated interpretation of The Greedy Hippo is used to further the aims of interdisciplinary research as stated by the original project by comparing its fantasy imagery with that of the Chinese film Crouching Tiger, Hidden Dragon by director Ang Lee. The analysis of the images in both works of art has been based on Jungian archetypes, with specific reference to the need for an esoteric and imaginative reading of fantasy in the chosen works of art. Reference was made to the dominant role of realism as style in Western art as opposed to the more esoteric, symbolic, and fantasy imagery of the art of other cultures, with emphasis on China. Chinese landscape painting and even poetry has been briefly contextualised with regards to the chosen works of art. Finally, the different characters of both works of art were analysed within the contexts of their symbolic meanings as based on Jungian archetypes, with particular reference to the scenes where the characters are depicted as flying through the air, which were explained within the contexts of Wu Xia martial arts style films.s.
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This article examines the historical development of the global film industries primarily through horizontal integration between the late 20th and the early 21st century. It presents an empirical analysis of the structural change and dynamics of the film industries. It explores the role of US film corporations – considered the key players in the global film market through Hollywood movies – to determine whether the US has achieved a pivotal role in the global M&A market. This leads to the fundamental question of whether film corporations in non-western countries have expanded their influence in the global market so that they can reduce the asymmetrical power balance between the West and the East.
Recent developments in East and Southeast Asian media markets provide an opportunity to revisit a common assumption about media globalization. A newly coined phrase - Korean wave - which refers to the popularity of Korean media culture across East and Southeast Asia, is a metaphor for thinking about this recent regional media development. Through an examination of the recent big leap of the Korean media industries, this article argues that the US dominance thesis regarding globalization is not entirely justified. Although popular entertainment forms such as film and television are a Western invention, Koreans have provided their own twists to these media by blending indigenous characteristics and adding their unique flourishes in often innovative ways.
Taking action cinema as an example, this paper outlines a historical approach to the transnational study of globally popular cultural forms. Action cinema has long had a complex economy in which Hollywood not only trades stars, styles and narratives with the hybrid culture of Hong Kong cinema itself, but draws on a vast 'direct to tape' industry significantly based in East Asia. The paper outlines a Hong Kong-based approach to two earlier phases in the history of action: the 'international co-production' as an industrially innovative form (1973-85), and the golden age of the 'direct to tape' industry enabled by the rapid spread of video technology (1985-93). Focusing on the latter, it suggests that the global uptake by filmmakers of a 'contact' narrative and an ethic of emulation taken from Hong Kong cinema allowed direct-to-video action to address issues of social class in emotionally complex ways.
Scott A. J. (2002) A new map of Hollywood: the production and distribution of American motion pictures, Reg. Studies 36, 957-975. In this paper, I offer a reinterpretation of the economic geography of the so-called new Hollywood. The argument proceeds in six main stages. First, I briefly examine the debate on industrial organization in Hollywood that has gone on in the literature since the mid-1980s, and I conclude that the debate has become unnecessarily polarized. Second, I attempt to show how an approach that invokes both flexible specialization and systems-house forms of production is necessary to any reasonably complete analysis of the organization of production in the new Hollywood. Third, and on this basis, I argue that the Hollywood production system is deeply bifurcated into two segments comprising: (1) the majors and their cohorts of allied firms on the one hand; and (2) the mass of independent production companies on the other. Fourth, I reaffirm the continuing tremendous agglomerative attraction of Hollywood as a locale for motion-picture production, but I also describe in analytical and empirical terms how selected kinds of activities seek out satellite production locations in other parts of the world. Fifth, I show how the majors continue to extend their global reach by means of their ever more aggressive marketing and distribution divisions, and I discuss how this state of affairs depends on and amplifies the competitive advantages of Hollywood. Sixth and finally, I reflect upon some of the challenges that Hollywood must face up to as new cultural-products agglomerations arise all over the globe, offering potential challenges to its hegemony.
This is a book about the US motion picture industry - its structure and policies, its operations and practices. It looks at the processes that are involved in turning raw materials and labor into feature films. It describes the process of film production, distribution, exhibition and retail - a process that involves different markets where materials, labor and products are bought and sold. In other words, this is a book about how Hollywood works - as an industry. How Hollywood Works: - offers an up-to-date survey of the policies and structure of the US film industry - looks at the relationship between the film industry and other media industries - examines the role of the major studios and the other ‘players’ - including, law firms, talent agents, and trade unions and guilds - provides access to hard-to-find statistical information on the industry While many books describe the film production and marketing process, they usually do so from an industry perspective and few look at Hollywood critically from within a more general economic, political and social context. By offering just such a critique, Janet Wasko’s text provides a timely and essential analysis of how Hollywood works for all students of film and media.
The purpose of this study is to explore the transformation of the Korean film industry after Hollywood distribution companies were given the goahead to release their films in Korea. The focus is on the specific period between 1988 and 1993, when the Korean film industry was in the first
stage of "free competition." The article is structured around the three components of production, distribution, and exhibition.
The market shares of Hollywood movies in European and Asian markets are so large that policymakers around the world are concerned about the import domination not only in theaters but also in the subsequent windows. Media economists acknowledge that domestic producers have an advantage in terms of a "cultural discount," referring to the unavoidable disadvantage of imported films. However, expenditure on a film's production also determines the extent of popular appeal, thus creating an advantage for films that have a large and wealthy home market base such as Hollywood. In this article, I aim at understanding the dynamics of these 2 seemingly opposing forces in the motion picture market in Korea. I review the film market in Korea, explore the relation between performances of 2 windows, theaters and home video, over the two countries-the United States and Korea-and compare the determinants of performance of Hollywood and local films in Korean box offices. A strong hit orientation and preference for local content was empirically found.
This article proposes that Ang Lee's Chinese-language martial arts film, Crouching Tiger, Hidden Dragon, be seen as a work of diasporic cinema. The essay explores how the film's material production and its aesthetic form have been shaped by Lee's ties to his Chinese homeland, to other members of the Chinese diaspora, and to the Hollywood films of his American hostland.
In examining the way Ang Lee's Crouching Tiger, Hidden Dragon grapples with cultural identity and Chineseness, this essay considers Lee's construction of an image of "China" in the film, as well as its feminist possibilities. These readings reveal Lee's conflicted critique of traditional Chinese cultural centrism and patriarchal hegemony.
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