The Chinese film market and the Wolf Warrior 2 phenomenon

Teo, Stephen

doi:10.1093/screen/hjz017

Cited by 16 publications

(18 citation statements)

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“…The third bubble starts at 2015:M4 and ends at 2015:M12. The government promulgated the "The Film Industry Promotion Law (draft)" in 2015, which promised to increase investment, reduce taxes, and reform the film market (Teo, 2019). The Regulations on Developing the National Film Industry clearly indicate that special funds are given to reward excellent domestic film production, distribution, and projection.…”

Section: Resultsmentioning

confidence: 99%

“…F. Feng and Sharma (2018) indicate that the film industry is affected by market and economic factors, but income and admissions have no influence on Chinese filmgoers. Teo (2019) indicates that the Chinese film market suddenly dipped in 2016, which ended its rapid development process and mirrored its low economic growth. Kokas (2019) argues that commercial capital is an important supplement to a national film investment system and divides the film industry into several interdependent centers such as Beijing and Shanghai.…”

Section: Chinese Film Industry Frustrations and Challengesmentioning

confidence: 99%

“…Existing studies are mainly centered on the influencing factors of periodic fluctuations and challenges in the film industry (Courty & Zhang, 2018), such as film policies and state administration (Song, 2018), commercial capital (Kokas, 2019;W. Peng, 2015), economic growth (Teo, 2019), personal income (Morawetz et al, 2007;Shortal, 2018), film quality (G. Feng, 2017), and intense competition from Hollywood (Jin, 2013). Nevertheless, few studies employ a bubble model to explain the film industry's boom and bust process and locate the accurate starting and ending points of every bubble.…”

Section: Introductionmentioning

confidence: 99%

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Do Bubble Behaviors Exist in Chinese Film Stocks?

Liu

Wang

2020

Sage Open

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This article investigates bubbles in the Chinese film industry to reveal the industry’s boom and bust process that influences employment, citizen’s livelihoods, and even economic growth. We adopt the film stock index to reflect the industry’s trajectory and employ the generalized and backward sup augmented Dickey–Fuller tests to detect bubble periods. Empirical results indicate that there are three positive bubbles in 2007, 2013, and 2015, indicating that the film market continues to expand after temporary frustrations. Meanwhile, one negative bubble is found in 2019, which demonstrates that the bubble’s negative impacts persist and the film industry is still having problems such as declining industrial output. Economic growth, film quality, and industrial policies are common factors for all bubbles. The global financial crisis, capital in- and outflows, internet giants’ entry and sky-high remuneration are reasons for certain bubble behaviors. Hence, market practitioners should actively recognize bubbles and observe their evolution, which will favor industrial stabilization. A perfect legal system, moderate industrial policies, a competitive market environment, and other measures are needed to confront the opportunities and challenges.

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Section: Resultsmentioning

confidence: 99%

Section: Chinese Film Industry Frustrations and Challengesmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Do Bubble Behaviors Exist in Chinese Film Stocks?

Liu

Wang

2020

Sage Open

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“…The strongly patriotic tone of this film, which made it a runaway hit in mainland China, turns out to keep Western audiences away. Teo believes that the triumph of Wolf Warrior II is a Chinese phenomenon, whereas its poor box office accomplishments in overseas distribution are due to the rest of the world is not ready for a Chinese hero from mainland China, with the West perhaps being the least ready (Teo, 2019). From a Western perspective, Jonathan Papish has praised the film's action sequences, but argued that its unsubtle pro-China stance means it will likely never succeed among mainstream Western audiences (cited in Zuo, 2017).…”

Section: Discussionmentioning

confidence: 99%

“…In 2017, the explosive commercial success of Wolf Warrior II (2017, 战狼 II, dir. Wu Jing), a cross-genre action-military film that has been called a "phenomenon-grade" movie (Teo, 2019), attracted a wave of public attention to nationalistic portrayals in Chinese cinema. The movie's release coincided with the 90th anniversary of the founding of the People's Liberation Army in China.…”

Section: Introductionmentioning

confidence: 99%

“Man-as-Nation”: Representations of Masculinity and Nationalism in Wu Jing’s Wolf Warrior II

Guan

2021

Sage Open

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Through an in-depth analysis of gender representation in the box office record-breaking Chinese movie Wolf Warrior II, this study interrogates how the male body is used as a site for the projection of Chinese national power. Furthermore, it illustrates a revival of patriotic pride in China through a contemporary reading of cross-genre action-military films. Developing Shuqin Cui’s notion of “woman-as-nation,” which understands on-screen female victimization in Chinese films as signifying the past suffering of the nation, this study proposes the new concept of “man-as-nation” to explain how the masculine virtues of male protagonists in Chinese films signify the nation’s rejuvenation and strength. Framing male virtue into the paradigms of wu (武), as martial valor, and wen (文), as cultural attainment, this article argues that masculinity has come to symbolize China’s enhanced comprehensive power and to embody its ideological orientation in both global and domestic domains.

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The “Wolf Warrior Cycle”: Chinese Blockbusters in the Age of the Belt and Road Initiative

Yang

2023

The China Quarterly

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This article concentrates on four Chinese blockbuster movies, Wolf Warrior (2015), Operation Mekong (2016), Wolf Warrior 2 (2017) and Operation Red Sea (2018), referring to them collectively as the “wolf warrior cycle” on the basis of their shared themes of China's overseas military actions. To understand why films addressing this topic have emerged since the mid-2010s, the article employs a critical political economy approach and situates the wolf warrior cycle in China's transforming foreign policies. It argues that the Belt and Road Initiative, one of the state's prominent foreign policies and global strategies in this period, played a crucial role in shaping the production of the wolf warrior cycle films under a trend of the politicization of commercial blockbusters in the Chinese film industry. In turn, these films contributed to the formation of the “wolf warrior diplomacy” image by reinforcing the proactiveness of China's diplomacy and nationalistic stereotypes in Chinese society towards international relations.

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The Chinese film market and the Wolf Warrior 2 phenomenon

Cited by 16 publications

References 0 publications

Do Bubble Behaviors Exist in Chinese Film Stocks?

Do Bubble Behaviors Exist in Chinese Film Stocks?

“Man-as-Nation”: Representations of Masculinity and Nationalism in Wu Jing’s Wolf Warrior II

The “Wolf Warrior Cycle”: Chinese Blockbusters in the Age of the Belt and Road Initiative

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