Questions on Chinese Cinema & Globalization

1. Popular National Cinema & Globalization: China Issues in Film Studies 2 Week Seven

2. Transnational Cinema The concept of transnational cinema is the product of a number of theories which consider the effects of globalization on film Debates surrounding transnational cinema consider the impact of films, cinemas and personnel who cross or supersede national boundaries The idea of transnational cinema challenges the concept of national cinema

3. ‘The Concept of National Cinema’ Defining any national cinema is problematic “To identify a national cinema is first of all to specify a coherence and unity; it is to proclaim a unique identity and a stable set of meanings” (Higson, 1989: 37) The concept of national cinema has been developed as a way of resisting the cultural and economic hegemony of Hollywood

4. Identifying National Cinema Two methods for identifying the coherence or specificity of a national cinema: By making comparisons between two cinemas By exploring the nature of cinema in relation to other cultural forms from that nation

5. Issues Raised by Higson Economic approach Many films are financed/distributed by international (often American) companies Text-based approach Can collapse differences between texts Exhibition/consumption-focused approach The majority of films that are screened in, for example, UK and European cinemas and are popular with the public are made in Hollywood Criticism-led approach Tends to privilege certain kinds of films over others, “citing what ought to be the national cinema…” (Higson, 1989: 37)

7. Think about the following areas:

8. Production

9. Financing

10. Distribution

11. Casting

12. The films themselves

14. China’s Response to Hollywood How has Chinese cinema responded to the dominance of Hollywood cinema? Is Hero a challenge to American approaches/attitudes to representation and ideology? How does Chinese cinema use codes and conventions from Hollywood?

15. The Blockbuster & Ideology Many film scholars view the blockbuster as a form of cinema which perpetuates conservative and reactionary values They have argued that the use of spectacle and emotive techniques can make audiences susceptible to ideological messages However, this argument relies on an out-dated model of media effects, so has been problematized in recent times

16. Hero, spectacle & ideology How does Hero compare with recent ‘historical’ Hollywood blockbusters? Do you agree with the view that Hero tries to conceal its ideological agenda through the use of visual spectacle? Do you think that audiences accept the views presented to them in movies? Or are they part of a wider ideological apparatus, which is nationally specific?

17. Globalization as a Process Globalization is processual and “allows for incoherent, multi-lateral forms and directions of power, celebrating them as market flexibilities or sites of popular resistance.” (Miller, 1998: 376) It has been suggested that “…the means of communication, association, and political representation are seen to be converging.” (Miller, 1998: 376)

18. Influences on Hollywood How have Chinese martial arts films influenced Hollywood cinema? Can you give some examples of Hollywood films that use martial arts? What do you think the purpose of this appropriation of a Chinese tradition is?