Film policy and cooperation between east and west: The case of France and Romania in the nineties

Jäckel, Anne

doi:10.1080/10286630009358137

Cited by 5 publications

(2 citation statements)

References 7 publications

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“…Despite the best-laid plans of bureaucrats and operatives in both countries, this continuing shift of money, talent and technological know-how is by no means an automatic and orderly process. However, after discussing the implications of the agreement with many Korean and Chinese film industry representatives during multiple visits to China and Korea, the author believes that the two countries are on the cusp of something that differs radically from the experience of other national cinemas and some of the particular cultural diversity and theoretical framework settings that have received considerable attention in the past (see, for example, Moran 1996 andJäckel 2000). More specifically, as the present article demonstrates, the China-Korea connection remains more robust and enmeshed than China's links with any of the other countries with which it has a co-production treaty; in late 2015 these included: Australia 2007 2010, and Spain (2014).…”

Section: The Forging Of Chinese-korean Connectionsmentioning

confidence: 99%

The Chinese–Korean co-production pact: collaborative encounters and the accelerating expansion of Chinese cinema

Yecies¹

2018

Film Policy in a Globalised Cultural Economy

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Official film co-production treaties are designed by policymakers to stimulate a range of collaboration and media flows as determinants of country rankings. China, where , technology transfer, and joint funding initiatives in the industry. Since July 2004, the Chinese government has used this top-down approach to cultural diplomacy as a symbolic tool for advancing Chinese cinema and opening the domestic market to a host of willing international partners. Korean filmmakers in particular have exploited the (often informal) opportunities presented, engaging in vigorous cooperation between film industry firms and practitioners is making significant inroads, is one such case, having fallen outside of the Western-dominated global 'Soft Power 30' index.with Chinese colleagues across all sectors of the production ecosystem. The continuing flow of Chinese-Korean transnational film encounters, underpinned by influential personal networks, resulted in the signing of a formal China-Korea co-production agreement in July 2014. To redress this limited viewpointexamine the efficacy of this policy intervention, this article analyzes a rangethe diversity of film collaborationscollaboration that preceded the 2014 South Korea-China co-productionthis agreement and theirits impact on transnational filmmaking in China. It investigates the strategies used in the remaking of Korean auteur Lee Man Hee's 1966 melodrama Late Autumn (2010), technical innovation in Dexter Digital'sthe VFX-heavy Mr. Go (2013), and the making of Korean mega-distributor CJ E&M's romance drama A Wedding Invitation (2013). These recent examples of transnational cooperation prior) to the signing of this landmark policy instrument illustrate how Korean firms and practitioners are continuing to expand theexpanding the commercial entertainment boundaries of Chinese cinema, and. In so doing, it also reveals how Chinese film companies are enabling the Korean film industry to increasingly internationalize its approach to overseas markets beyond the kind of conspicuous bilateral policy initiatives. This study is intended to add a nuanced layer of complexity to the 'soft power aspirations' of both China and Korea and their links to the film industry in tailored for a globalized cultural economy.

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Section: The Forging Of Chinese-korean Connectionsmentioning

confidence: 99%

The Chinese–Korean co-production pact: collaborative encounters and the accelerating expansion of Chinese cinema

Yecies¹

2018

Film Policy in a Globalised Cultural Economy

View full text Add to dashboard Cite

show abstract

“…15 Despite the best-laid plans of bureaucrats and operatives in both countries, this continuing shift of money, talent and technological know-how is by no means an automatic and orderly process. However, after discussing the implications of the agreement with many Korean and Chinese film industry representatives during multiple visits to China and Korea, the author believes that the two countries are on 20 the cusp of something that differs radically from the experience of other national cinemas and some of the particular cultural diversity and theoretical framework settings that have received considerable attention in the past (see, for example, Moran 1996 andJäckel 2000). More specifically, as the present article demonstrates, the China-Korea connection remains more robust and enmeshed than China's links 25 with any of the other countries with which it has a co-production treaty; in late 2015 these included: Australia ( (2014).…”

Section: Introductionmentioning

confidence: 99%

The Chinese–Korean co-production pact: collaborative encounters and the accelerating expansion of Chinese cinema

Yecies

2016

International Journal of Cultural Policy

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Beyond postsocialist and small: recent film production practices and state support for cinema in Czechia and Romania

Parvulescu

Hanzlík

2020

Studies in European Cinema

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Film policy and cooperation between east and west: The case of France and Romania in the nineties

Cited by 5 publications

References 7 publications

The Chinese–Korean co-production pact: collaborative encounters and the accelerating expansion of Chinese cinema

The Chinese–Korean co-production pact: collaborative encounters and the accelerating expansion of Chinese cinema

The Chinese–Korean co-production pact: collaborative encounters and the accelerating expansion of Chinese cinema

Beyond postsocialist and small: recent film production practices and state support for cinema in Czechia and Romania

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