Wandering China

An East/West pulse of China's fourth rise from down under.

Film buffs multiply in China [The Australian] #ChinaFilm


The Australian is a trusted and valued paper down under, and this would have helped form their impressions of China today.

On to the area of film.

The Chinese have for a long time understood the importance of producing and controlling visual markers to express their place in the world. The time of networked societies offers a radically different challenge as, yet cinemas form part of the last bastion of traditional media channels. Grow all it want, but they still yield foreign content control. But underneath that veneer, what should be noted is its promotion of shaping domestic cultural capital through lavishly state sponsored endeavors.

My travels around China the past three years have brought me to many cinemas. Few have the appeal the cineplexes like back in Singapore. 10 screens a day may sound impressive, yet I feel it is just the tip of the iceberg. The industry is still in its infancy, and still tinkling around for a model to cater to their voluminous market.

– – –

Film buffs multiply in China
By Emily Ford, from The Times
Source – The Australian, published March 26, 2013

AVID cinemagoers have helped China overtake Japan to become the world’s second biggest film market, underlining the country’s rising importance to Hollywood studios.

Ticket sales in China rose 36 per cent last year to $US2.7 billion, making it the fastest growing film market globally and helping to take worldwide box-office revenues to a record $US34.7bn, according to figures released by the Motion Picture Association of America.

Ticket sales are in decline in many countries, falling 1 per cent last year to $US10.7bn in Europe, the Middle East and Africa. China, however, is rapidly becoming a nation of film buffs as rising disposable incomes lead middle-class consumers to spend more on entertainment and leisure.

MPAA chairman and chief executive Christopher Dodd says: “China is building 10 screens a day. There’s a voracious appetite for product and our films have consistently done well.”

Yet for Hollywood, exporting blockbusters to China is not as straightforward as its scriptwriters might wish.

Believing that the US takes too great a share of its box office at the expense of domestic films, the Communist Party limits to 34 the number of foreign films that can be screened each year. It also imposes blackout periods, during which no foreign films can be shown, to help local productions.
The Times

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Filed under: Beijing Consensus, Censorship, Charm Offensive, Chinese Model, Culture, Domestic Growth, Economics, Government & Policy, Influence, Infrastructure, Lifestyle, Mapping Feelings, Media, New Leadership, People, Population, Public Diplomacy, Reform, Social, Soft Power, Strategy, Tao Guang Yang Hui (韬光养晦), The Chinese Identity

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