论文网首页|会计论文|管理论文|计算机论文|医药学|经济学论文|法学论文|社会学论文|文学论文|教育论文|理学论文|工学论文|艺术论文|哲学论文|文化论文|外语论文|论文格式
中国论文网

用户注册

设为首页

您现在的位置: 中国论文网 >> 外语论文 >> 其他相关论文 >> 正文 会员中心
 外语翻译论文   语言文化论文   英美文学论文   其他相关论文   学术英语   商务英语   英语教学
“THE WOLF AT THE DOOR”:HOLLYWOOD AND THE FILM MARKET IN CHINA FROM 1994-2000(五)

 notes

  (1)dierdre l.nickerson and todd lappin ,"frustration in peking :chinesedirectors win acclaim abroad but not at home,"far eastern economic review ,august12,1993,p.57,citing china film.it should be noted,however,that boxoffice statistics for chinese films are highly inconsistent.one well-informed intervieweein beijing in july 2000actually warned me not to believe what i read about thisin the chinese press,that official publications over-reported attendance.forexample ,seth faison reported in the new york times (november 21,1995,p.c1)that attendance had declined from a peak of 14billion in 1992,while williambrent reported in the china business review (september-october 1994,p.38)thatonly 1.2billion tickets were sold in 1993.an authoritative chinese source notedthat the total audience had dropped by 50percent from 1979(29.3billion)to1991(14.4billion)。www.11665.CoMsee ni zhen,ed.,gaige yu zhongguo dianying (reform andchinese film)(beijing :dianying chubanshe ,1994),p.50.there were manyreasons for the decline ranging from poor distribution,the low quality of governmentapproved films,and the growing popularity of other forms of entertainment.inthe late 1980s,just prior to the tiananmen military crackdown of june 1989,chinesestudios had been increasingly relying on pure entertainment films in an effort toincrease the box office.communist party officials were not at all pleased thatmore than 60percent of chinese films in 1988were kung fu films,thrillers andmusicals.see renmin ribao(people's daily),january 31,1989,cited in xinhua,english ,reprinted in foreign broadcast information service (fbis),china,89-021,february 2,1989,p.30.

  (2)at the beginning of the reforms there was only one "cabaret"in china,at the dongfang hotel in guangzhou.by 1994,according to renmin ribao,therewere hundreds of cabarets ,at least 200,000karaoke bars,and 60,000"videoviewing rooms".see los angeles times ,november 29,1994,p.f9.

  (3)hong kong standard ,september 18,1992,p.11,reprinted in fbischina ,92-182,september 18,1992,p.22.

  (4)for document no.3(issued by the ministry of radio ,film and televisionon january 5,1993)see china film corporation ,ed.,dianying zhengce faguizhongyao wenjian huibian(a collection of important regulations on film policy)(beijing :dizhi chubanshe,1997),pp.12-15.for document no.348(issuedby the same agency on august 1,1994)see ibid.,p.16.

  (5)tony rayns in the independent(london),september 26,1993,p.48.also see kyodo news agency,november 16,1992,reprinted in fbis china,92-221,november 16,1992,pp.27-28and derek elley,"china ,"in peter cowie,ed.,variety international film guide 1994(hollywood :samuel french trade,1993),p.122.

  (6)derek elley,"china ,"in peter cowie,ed.,variety internationalfilm guide 1995(hollywood :samuel french trade,1994),p.136.it shouldbe noted that some major centers,such as beijing,shanghai and jiangsu provincewere doing better because of a few popular titles.

  (7)ibid.

  (8)twelve hollywood films had been imported in 1992for this flat fee.seedaily variety ,march 21,1994,p.1.

  (9)xinhua ,english,july 14,1994,reprinted in fbis china,94-135,july 14,1994,pp.25-26.

  (10)zheng dongtian ,"to be or not to be?jinru wto yihou de zhongguo dianyingshengcun beijing fenxi"(to be or not to be?background and analysis on the existenceof chinese film after entrance to wto ),dianying yishu (film art)no.2,2000,pp.4-8.to ensure greater circulation for his views this article was published ,with a slightly different title in beijing guancha(beijing observation )no.4,april 2000,pp.50-55.in both articles "to be or not to be"is written in english.

  (11)for translations of articles on different sides of this ideological dividesee stanley rosen ,ed.,"hollywood films and chinese domestic films in china(part i),"chinese sociology and anthropology vol.32,no.1,particularlypp.12-22.for a discussion of "main melody film"see linda jaivin,"guns and butter:a survey of recent chinese cinema,"china news analysis no.1466,august 15,1992,p.2.as jaivin cites from renmin ribao,august 30,1991,p.5,mainmelody films are supposed to help people to "find their way and strengthen theirbelief in the face of the extremely complicated political disturbances in chinaand abroad at this time".

  (12)"more reform urged for prc's film industry ,"xinhua in chinese ,july7,2000,translated in fbis china ,july 7,2000(internet)。this circularhas been extensively reported in the chinese press.for example ,see "deepen thereform of the film industry ,foreign capital is permitted for investment,"beijingwanbao,july 8,2000,p.14.

  (13)for a recent critique of the burdens of producing main melody films byfilm professionals,see yin hong ,"1999zhongguo dianying beiwang"(a memorandumon chinese film in 1999),dangdai dianying (contemporary film )no.1,2000,pp.10-15.

  (14)chang bin,"megaproductions :the seven year itch,"xiju dianyingbao (movie and drama weekly),may 5,2000,p.3.this article provides a usefulyear by year summary of hollywood films shown in china and includes the openingdate for each film,box office figures for beijing's capital cinema,and otheruseful data.also see rone tempest,"how do you say boffo in chinese ?the fugitive,"los angeles times ,november 29,1994,pp.f1,9.

  (15)cited in the associated press,november 19,1994.

  (16)rone tempest ,los angeles times,november 29,1994,op.cit.[goback]

  (17)daily variety,november 28-december 4,1994,p.48.the decisionto import "the fugitive"and the impact of hollywood blockbusters into the chinamarket more generally was discussed in a variety of chinese sources at the time ,including such industry publications as xiju dianying bao (film and theater news),zhongguo dianying zhoubao (china film weekly ),zhongguo dianying shichang(china film market ),wenhui dianying shibao (wenhui film times ),and zhongguowenhua bao(chinese cultural news )。one of the most detailed accounts,summarizingnot only the dispute and its chronology ,but also the process by which "the fugitive"was brought to china,can be found in zi shan,"the western galaxy is moving eastand the path has not been smooth:a true account of the storm over 'the fugitive'in beijing,"zhongguo dianying shichang(china film market ),no.1,january1995,pp.15-17.

  (18)for a discussion of the return of "the fugitive"to beijing theaters ,see gao feng,"the autumn leaves pass through the winter and welcome the spring:'the fugitive'returns to beijing screens"in zhongguo dianying shichang (chinafilm market )no.3,march 1995,pp.10-11.because of this dispute ,the boxoffice figures for "the fugitive"in beijing in 1994were less than one-sixth thefigures for shanghai.

  (19)daily variety,may 3,1994,p.4.

  (20)daily variety,august 5,1994,p.5.

  (21)maclean's,february 20,1995,p.18;financial times(london),february 8,1995,p.4.

  (22)daily variety,november 29,1994,p.4.

  (23)see fan jianghua ,mao yu and yang yuan ,"tour of the 1995film market,"zhongguo dianying shichang(china film market )no.1,january 1996,pp.4-7,translated in stanley rosen ,ed.,"the film market in china,"chinese educationand society vol.32,no.2,march-april 1999,pp.37-50.

  (24)"forrest gump"opened on june 9in beijing and june 16in shanghai ,but only 35percent of the seats were sold.among various problems were the poordubbing done by the august 1film studio,the fact that most chinese were not familiarenough with american history,and the general lack of excitement and entertainmentvalue provided by the film,particularly in comparison with "the fugitive"and"true lies".after the initial buzz created by the film's success at the academyawards,chinese audiences stayed away and theaters lowered their ticket pricesfrom 20to 10yuan.see united press international,june 20,1995.

  (25)los angeles times,october 17,1995,pp.d1,7and november 3,1995,p.d4.for a detailed account of the revival of the film market in chinathat was spurred by the imports ,see lao mei,"chinese domestic films:firstlight and shadows ,"dianying yishu(film art)no.2,1996,pp.43-48.[goback]

  (26)this regulation is reprinted in china film corporation ,ed.,dianyingzhengce fagui zhongyao wenjian huibian(compendium of the important official documentson film policies and regulations),(beijing :dizhi chubanshe,1997),pp.1-11,at p.8.on the violation of this regulation ,see wang gengnian,zhongguodianying bao(china film news ),february 17,2000,p.1.

  (27)zhan shibang ,"who are the stars of today's box office ?"in nanfangzhoumo(southern weekend),december 4,1998,p.9.chinese readers would alsobe aware that ning jing married her foreign co-star from "red river valley"(honghegu),suggesting that she was unable to find a suitable mate among chinese males.

  (28)yingjin zhang and zhiwei xiao,encyclopedia of chinese film (londonand new york:routledge,1998),p.272.because of a typographical error theannual figure for popular cinema's circulation is listed in the encyclopedia as960million copies(instead of 9.6million for the special issue that had the "hundredflowers"award ballot )。[personal communication from zhiwei xiao].academic publicationson film have also declined in recent years.the two most important,also discussedin the encyclopedia ,are dianying yishu (film art),first published in 1959,and dangdai dianying(contemporary cinema ),first published in 1984.indeed,one leading film professional told me that film art might be forced to close downbecause of financial difficulties (interview ,beijing,july 2000)。

  (29)"china's highest film awards face new set of challenges,"in filmbazaar.com,april 3,2000.

  (30)yi xudong,"when will china's restless,impetuous cinema become calm?"xin shiji(new times )no.7,july 1997,p.66.

  (31)circulation figures can be found in zhongguo xinwen chuban tongji ziliaohuibian 1998[a compendium of statistical data on chinese journalism and publications](beijing :zhongguo tongji chubanshe,1998),p.170.

  (32)see di yi shou (first hand)no.36,september 1,1998,p.3,published by horizon research.

  (33)for examples ,see mao qiang,"analysis of the 1998nationwide marketfor american shared-profit films;"he wenjin ,"thoughts elicited by charts showing'titanic'box office trends ;"and weng li ,"insights from the market phenomenonof 'titanic',"all translated in stanley rosen ,ed.,"hollywood films and chinesedomestic films in china (part i),"chinese sociology and anthropology,fall1999,pp.33-37,47-54,and 58-69.

  (34)national journal's congress daily,february 10,2000(online version);variety,february 14-20,2000,p.22;and los angeles times,may 23,2000,pp.a 1,14.

  (35)los angeles times,october 31,1999,pp.c 1,8.

  (36)michel oksenberg ,quoted in los angeles times,may 30,2000,p.c 1.

  (37)for a discussion of these restrictions and the china film market moregenerally ,see lora chen,"personal notes on changes in the chinese film industry:globalization and the market economy ,"(unpublished paper )。

  (38)for an excellent discussion of the obstacles to hollywood's dreams ofa vast china market ,see james bates,"china deal won't be a quick hit for hollywood,"los angeles times ,may 30,2000,pp.c 1,4.

  (39)there are many articles on this debate in newspapers and magazines.see,inter alia,xu lijing,and lan xiding ,"wuyuan piaojia:nengfou xianqi yingjie{wanmei fengbao}(a five yuan ticket:will it set off 'the perfect storm'in filmcircles ),jingji ribao (economic daily),november 23,2000,p.9and maoguo ,"wuyuan piaojia:rang shichang shuohua"(a five yuan ticket:let the marketdecide),zhongguo dianying bao(china film news ),november 23,2000,p.3.on this issue more generally ,see zhang yan,"are cinema prices really toohigh?"beijing qingnian bao,december 5,1999,p.14,translated in stanleyrosen ,ed.,"hollywood films and chinese domestic films in china (i ),"chinesesociology and anthropology,vol.32,no.1,fall 1999,pp.43-46and tang jiqun,"the abc's of shanghai's film market:a survey report of yangpu district culturalbureau(part two),"zhongguo dianying shichang no.8,august 1999,pp.32-33,translated in rosen ,"hollywood films and chinese domestic films in china (ii),"chinese sociology and anthropology,vol.32,no.2,winter 1999-2000,pp.82-88.the information on the availability and quality of vcds and dvds is basedon my observations in beijing in july 2000.

  (40)rosen interview with jin zhongqiang,beijing,december 12,1999.[goback]

  (41)the best work on censorship in pre-1949china has been done by xiao zhiwei.see "anti-imperialism and film censorship during the nanjing decade ,1927-1937,"in sheldon lu ,ed.,transnational chinese cinemas:identity ,nationhood ,gender(honolulu:university of hawaii press ,1997),pp.35-57.

  (42)asiaweek ,april 10,1998,p.35.also see south china morning post,september 24,1997(internet edition)and december 9,1997(internet edition)。

  (43)new york times ,october 10,1997,p.b 7.after disney had signeda deal with scorsese they really had no choice except to proceed with "kundun".not to do so would have subjected the studio to charges of censorship and damagedtheir reputation within the artistic community in hollywood.

  (44)washington post,february 8,1999,p.a 1.it was clear that disneywas placating chinese sensibilities rather than seriously planning the distributionof the two films in the u.s.one film -"a time to remember"(hongse lianren)-is a patriotic love story set during the communist revolution and would have littleinterest for u.s.audiences.

  (45)chang bin,"dapian qinian zhiyang"(seven years of megafilms),xijudianying bao(movie and drama weekly),may 5,2000,p.3.

  (46)wang tong,"wto yu zhongguo dianying"(wto and chinese film),xijudianying bao(movie and drama weekly),may 19,2000,p.7.this was part ofa "great debate"in the chinese film industry over how to survive in the wake ofwto entrance.

  (47)en na,"killer:chongxin renshi meiguo dapian"(killer:understandingamerican megafilms in a new light ),beijing qingnian bao ,may 19,1999,p.3.

  (48)zeng yabo,"jiekai haolaiwu de miansha"(drawing aside hollywood'sveil),zhongguo dianying shichang (chinese film market )no.7,july 1999,p.10.

  (49)chen xiaoyun ,"'zhenshi huangyan':meiguo dianying de huoyu baquan"("true lies":the vivid language of hegemony of american films ),zhongguodianying bao(china film news ),august 12,1999,p.2.

  (50)du zhongjie,"menghuan bei hou you zhi kanbujian de shou"(there isan invisible hand behind the dreamland),zhongguo dianying bao(china film news),august 12,1999,p.2.

  (51)zhang renjie ,"mulan ci -kan donghuapian hua mulan"(ode to mulan-seeing the animated film mulan),dazhong dianying (popular cinema)no.8,august 1998,p.15.

  (52)ibid.

  (53)wang yongzhi and ren yi,"yinjin da pian yinchu de ganga"(the embarrassmentcaused by importing major films ),banyuetan neibuban (internally circulatededition of bimonthly forum)no.7,july 1999,pp.40-41.one leading film authorityin china warned me never to believe box office figures officially released.on hismany visits to chinese theaters to see films not subsidized by group ticket purchases,he finds very few others in the audience.

  (54)liu hong ,"jiaru wto :zhongguo dianyingye jiyu yu tiaozhan bingcun"(entering wto:the chinese film industry faces both opportunities and challenges),unpublished research report from the guangxi film studio)

  (55)on some of these competing strategies also see shaoyi sun,"under theshadow of commercialization :the changing landscape of chinese cinema"(unpublishedpaper )。

  (56)kang jianmin ,"zhendui wenti ,xunzhao tupo"(seeking a breakthroughby finding the problems ),dianying yishu (film art)no.3,may 5,1999,pp.13-15.

  (57)on box office figures around the world ,see peter cowie,ed.,varietyinternational film guide 2000(los angeles :silman-james press ,1999),pp.62-72.

  (58)zheng dongtian ,"shengcun,haishi huimie"(to be or not to be?),beijing guancha (beijing observation )no.4,april 2000,pp.50-55.

  • 上一篇外语论文:
  • 下一篇外语论文:
  •  作者:未知 [标签: ]
    姓 名: *
    E-mail:
    评 分: 1分 2分 3分 4分 5分
    评论内容:
    发表评论请遵守中国各项有关法律法规,评论内容只代表网友个人观点,与本网站立场无关。
    As is the case的用法分析
    Under the Dome穹顶之下
    As it happens的语义与用法分析
    The Power of Music
    The Circus
    Part 3 Eye on the Prize
    Tavi Gevinson: the Fashion Blogger Beco…
    The Lives of a Cell《细胞生命的礼赞》——…
    Who Is the Wisest of All? 谁是最有智慧的…
    The Sparrow & the Hawk麻雀与老鹰
    Strange Things Banned by Governments各国…
    Famous Left—Handed Authors著名的左撇子作…
    | 设为首页 | 加入收藏 | 联系我们 | 网站地图 | 手机版 | 论文发表

    Copyright 2006-2013 © 毕业论文网 All rights reserved 

     [中国免费论文网]  版权所有