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China Opens and the World Reforms: F...

Jacks, Wesley Aaron.

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China Opens and the World Reforms: Film Import Distribution in the Post-reform PRC.

Record Type:	Electronic resources : Monograph/item
Title/Author:	China Opens and the World Reforms: Film Import Distribution in the Post-reform PRC./
Author:	Jacks, Wesley Aaron.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
Description:	210 p.
Notes:	Source: Dissertations Abstracts International, Volume: 81-05, Section: A.
Contained By:	Dissertations Abstracts International81-05A.
Subject:	Film studies. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=22623140
ISBN:	9781392536964

China Opens and the World Reforms: Film Import Distribution in the Post-reform PRC.
Jacks, Wesley Aaron.

China Opens and the World Reforms: Film Import Distribution in the Post-reform PRC. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 210 p.

Source: Dissertations Abstracts International, Volume: 81-05, Section: A.

Thesis (Ph.D.)--University of California, Santa Barbara, 2019.

This item is not available from ProQuest Dissertations & Theses.

While scholarly trajectories in Chinese film studies, media industries, and piracy have each added clarity and accuracy to their fields, we still lack a nuanced understanding of the complex, intersecting, and interdependent pathways film and television texts travel to reach Chinese audiences and how the emergence and disappearance of these pathways impact the Chinese media industries and its foreign partners. There is no longer any doubt that Chinese film distribution has become vital to the modern global media landscape. Transnational producers increasingly include China as a key target when planning, producing, and releasing film and television projects. In addition, the rise of the Mainland market has dramatically reconfigured the operation of media hubs across East Asia, especially industries in Hong Kong, Taiwan, and South Korea. Through an examination of interactions between government policy, the operation of Mainland distributors, the China-based ambitions of foreign producers, and the behaviors of local consumers, this project traces the modern evolution of import distribution in theatrical spaces, via unlicensed home video formats, and online video platforms.Because distribution remains deeply embedded in economic, political, legal, and popular frameworks, it must be studied across diverse sites and with an array of analytical tools. Without the benefit of studio archives, I combine diverse sources to reconstruct import release patterns over the past four decades including film industry trade journals, government policy documents, local fan magazines, official Chinese Film Yearbooks, data from media research companies, and interviews with industry professionals.This dissertation presents both historical and speculative arguments about China and the operation of transnational media industries. It is the first comprehensive approach to import selection and circulation in contemporary China. It challenges inherited ideas of what enables import access. Previous literature has over-emphasized content and censorship as catalysts for the approval and rejection of imports for distribution in China. I argue that foreign film content is far less controversial than local film content. While content remains crucial for attracting Chinese audiences, favorable profit-sharing deals are the key for gaining China Film Export & Import Corporation approval for import access. The less reciprocity is offered, the more control over distribution and profits is demanded by Chinese industry leadership.I also argue the Sino-US relationship has been over emphasized as the central partnership pushing China towards greater marketization in the cultural industries. My first chapter, contends that Japan was an early, influential partner whose exchanges with China set forth models for attracting audiences and pleasing bureaucrats that have endured until the present day. In addition to tracing historical change, I identify distribution patterns and strategies that continue to re-emerge across time and argue these phenomena reveal longstanding Chinese industry priorities and struggles. I further contend that media distribution control has funded growth in China's film infrastructures and enabled Chinese policymakers to maintain a dominant position within a putatively creative industry.

ISBN: 9781392536964Subjects--Topical Terms:

2122736
Film studies.
Subjects--Index Terms:

Chinese film history

China Opens and the World Reforms: Film Import Distribution in the Post-reform PRC.
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300 $a 210 p.
500 $a Source: Dissertations Abstracts International, Volume: 81-05, Section: A.
500 $a Advisor: Curtin, Michael.
502 $a Thesis (Ph.D.)--University of California, Santa Barbara, 2019.
506 $a This item is not available from ProQuest Dissertations & Theses.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a While scholarly trajectories in Chinese film studies, media industries, and piracy have each added clarity and accuracy to their fields, we still lack a nuanced understanding of the complex, intersecting, and interdependent pathways film and television texts travel to reach Chinese audiences and how the emergence and disappearance of these pathways impact the Chinese media industries and its foreign partners. There is no longer any doubt that Chinese film distribution has become vital to the modern global media landscape. Transnational producers increasingly include China as a key target when planning, producing, and releasing film and television projects. In addition, the rise of the Mainland market has dramatically reconfigured the operation of media hubs across East Asia, especially industries in Hong Kong, Taiwan, and South Korea. Through an examination of interactions between government policy, the operation of Mainland distributors, the China-based ambitions of foreign producers, and the behaviors of local consumers, this project traces the modern evolution of import distribution in theatrical spaces, via unlicensed home video formats, and online video platforms.Because distribution remains deeply embedded in economic, political, legal, and popular frameworks, it must be studied across diverse sites and with an array of analytical tools. Without the benefit of studio archives, I combine diverse sources to reconstruct import release patterns over the past four decades including film industry trade journals, government policy documents, local fan magazines, official Chinese Film Yearbooks, data from media research companies, and interviews with industry professionals.This dissertation presents both historical and speculative arguments about China and the operation of transnational media industries. It is the first comprehensive approach to import selection and circulation in contemporary China. It challenges inherited ideas of what enables import access. Previous literature has over-emphasized content and censorship as catalysts for the approval and rejection of imports for distribution in China. I argue that foreign film content is far less controversial than local film content. While content remains crucial for attracting Chinese audiences, favorable profit-sharing deals are the key for gaining China Film Export & Import Corporation approval for import access. The less reciprocity is offered, the more control over distribution and profits is demanded by Chinese industry leadership.I also argue the Sino-US relationship has been over emphasized as the central partnership pushing China towards greater marketization in the cultural industries. My first chapter, contends that Japan was an early, influential partner whose exchanges with China set forth models for attracting audiences and pleasing bureaucrats that have endured until the present day. In addition to tracing historical change, I identify distribution patterns and strategies that continue to re-emerge across time and argue these phenomena reveal longstanding Chinese industry priorities and struggles. I further contend that media distribution control has funded growth in China's film infrastructures and enabled Chinese policymakers to maintain a dominant position within a putatively creative industry.
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