The genesis, structure and transformation of the contemporary Chinese cinematic field: Global linkages and national refractions

Nakajima, Seio

doi:10.1177/1742766515626831

Cited by 15 publications

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References 19 publications

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“…The central policy regarding Hollywood films can be summarized by an eightword principle: yi wo wei zhu, wei wo suo yong (all films imports must serve China's needs and national interests and should be made use of for China's gains and goals) (State Administration of Radio Film and Television 2001, article 2). On the one hand, the state aimed to lift the domestic film industry by filling the gap between a planned film production and a huge market demand by approving the annual quota for foreign hits with a revenue-sharing system starting from 1994 (Zhu, 2003;Wang 2009;Su 2010aSu , 2014Nakajima 2016). In 1990s, the domestic film industry slid into deep difficulties due to the rapid commercialization of the market, low levels of productivity, the shortage of production capital and the growing diversity of new entertainment choices available to Chinese audiences (Su 2010a(Su , 2010b(Su , 2014.…”

Section: Birth Of Main Melody Filmmentioning

confidence: 99%

Section: Birth Of Main Melody Filmmentioning

confidence: 99%

“…In addition to directly resulting in the birth of the main melody film genre, the opening up of the Chinese film market toward Hollywood films also introduced some changes in domestic audience tastes (Wang 2009;Nakajima 2016). Chinese audiences were rapidly catching up with their global counterparts in terms of being assimilated by Hollywood's aesthetic style (Wang 2009;Nakajima 2016). Such change was further advanced by the increasing quota for foreign mega-productions each year, which rose from ten to twenty in 2001, just before China joined the WTO, and to thirty-four during President Xi Jinping's visit to the U.S. in February 2012 (Su 2014).…”

Section: Birth Of Main Melody Filmmentioning

confidence: 99%

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The Political Economy of Local Cinema: A Critical Introduction

O'Brien

2021

Cultural Trends

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This volume is the third book-length publication of the research programme Media and Education in the Digital Age (MEDA), after Media and Education in the Digital Age. Concepts, Assessments, Subversions (Peter Lang, 2014) and Storytelling and Education in the Digital Age. Experiences and Criticisms (Peter Lang, 2016).MEDA is an interdisciplinary programme whose main goal it to coordinate, collect and circulate research on the disparate domains in which the development of new technologies has an impact on education.Launched in 2012 at Arcada University of Applied Sciences (Helsinki, Finland), the main mission of MEDA is to support critical education and pedagogy. Based on the epistemic coordinates of critical theory and social constructionism, MEDA includes several projects inspired by a variety of disciplinary and methodological approaches. In addition to the epistemic coordinates, these projects have two common tasks: to identify the important challenges to critical education and pedagogy and to suggest the contours of adequate responses.One of the main projects in this programme is MEDA-Cinema. This project originated from the desire to improve the education of Swedish-speaking Finnish filmmakers by looking at the impact of globalization and digitalization on cinema. The main research questions of this project focus on two dimensions: the relationship between cinema and cultural identity and the political economy of local cinema.The essays in this collection focus on the second dimension or, more precisely, on the organization of material and immaterial resources necessary for local cinema to endure as a valuable and vibrant alternative to other forms of cinema. In line with the mission of applied research, the main normative goal inspiring our project is rather practical: to support local cinema and the education of local filmmakers in addressing the cultural effects and challenges brought about by globalization and digitalization. The essays in this collection pick up particular aspects of these challenges and invite the reader to problematize local cinema as a cultural form that is both vulnerable and valuable.The publication of this volume has been made possible also thanks to funding provided by the following institutions (in alphabetical order): A.F. Lindstedts & Svenska handelsinstitutets fond för handelsutbildning, Fonden för Teknisk Undervisning & Forskning, Svenska Kulturfonden.More information of MEDA and MEDA-Cinema are available at https://rdi. arcada.fi/meda/en/ Contents

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Section: Birth Of Main Melody Filmmentioning

confidence: 99%

Section: Birth Of Main Melody Filmmentioning

confidence: 99%

Section: Birth Of Main Melody Filmmentioning

confidence: 99%

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The Political Economy of Local Cinema: A Critical Introduction

O'Brien

2021

Cultural Trends

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“…Especially because, according to Ying Zhu (2020), China itself has a long history of shaping art and culture to serve national interests. Seio Nakajima (2016) also pointed out that since the beginning of the People's Republic of China, the Chinese state has considered cinema as one of the most important means of political education and propaganda, a role that films continue to play today.…”

Section: The Us Hollywood and The Use Of Cinema As An Instrument mentioning

confidence: 99%

Stereotypes and Invisibilities: cinema and the construction of imagery about China in the West

Filho

2020

InterAção

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In "How China Is Rewriting Its Own Script", Amy Qin and Audrey Carlsen (2018) asked: "When was the last time you watched a movie with a Chinese villain?" If you don't remember, the authors claim that this may not be a coincidence, since several Hollywood films have had their scripts changed to avoid resenting the Chinese authorities and, consequently, risk losing access to China's gigantic domestic market. If China is trying to rewrite its own scripts, a possible question for this dossier is: what were Hollywood's narratives about China, and why is China trying to change them? Based on poststructuralist perspectives, this article will analyze some films representative of these Hollywood narratives about China, created at times when China did not have the capacity to rewrite its own script, highlighting how they helped to shape the image of the Chinese in the U.S. and the West. It will also address recent changes that have been taking place in the world cinematographic field, with possible diversification of narratives, and on the potential impacts of these events. Thus, this paper intends to contribute to a greater understanding not only of Western images about the East, but also of the role of culture-especially cinema-in the construction of these narratives.

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“…I also have published works on independent film consumption in urban China utilizing ethnography (e.g., Nakajima 2006Nakajima , 2010Nakajima , 2013Nakajima , 2014. Since April 2014, I have been teaching at the Graduate School of Asia-Pacific Studies, Waseda University and have continued industrial studies by incorporating transnational dimensions (Nakajima 2016a), as well as emphasizing the highly diverse compositions of contemporary Chinese cinema including not only art films but also more entertainment-oriented, commercial films (Nakajima 2016b(Nakajima , 2016c(Nakajima , 2016d. My ethnographic interests in independent film consumption also continue (Nornes et al 2016).…”

Section: Introductionmentioning

confidence: 99%

Studies of Chinese Cinema in Japan

Nakajima

2021

Journal of Chinese Film Studies

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Japanese interests in Chinese cinema go as far back as to the 1910s, when film magazines reported on the situation of Chinese cinema. Discussions of Chinese cinema began to flourish in the 1920s, when intellectuals wrote travelogue essays on Chinese cinema, particularly on Shanghai cinema. In the mid-1930s, more serious analytical discourses were presented by a number of influential contemporary intellectuals, and that trend continued until the end of WWII. Post-War confusion in Japan, as well as political turmoil in China, dampened academic interests of Japanese scholars on Chinese cinema somewhat, but since the re-discovery of Chinese cinema in the early 1980s with the emergence of the Fifth Generation, academic discussions on Chinese cinema resumed and flourished in the 1980s and the 1990s. In the past decade or so, interesting new trends in studies of Chinese cinema in Japan are emerging that include more transnational and comparative approaches, focusing not only on film text but the context of production, distribution, and exhibition. Moreover, scholars from outside of the disciplines of literature and film studies—such as cultural studies, history, and sociology—have begun to contribute to rigorous discussions of Chinese cinema in Japan.

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The genesis, structure and transformation of the contemporary Chinese cinematic field: Global linkages and national refractions

Abstract: By putting to work Pierre Bourdieu's approach to the 'field of cultural production',

Cited by 15 publications

References 19 publications

The Political Economy of Local Cinema: A Critical Introduction

The Political Economy of Local Cinema: A Critical Introduction

Stereotypes and Invisibilities: cinema and the construction of imagery about China in the West

Studies of Chinese Cinema in Japan

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