1) Chinese film director Jia Zhangke was once banned from the state film authority building due to his unapproved films, but his latest film "The World" is his first approved by the government, marking a major shift that has seen him go from pariah to accepted.
2) Directors from the underground "Sixth Generation" movement are now working within the system and with censors to get their films screened in China rather than being restricted to international festivals and pirated DVDs.
3) Jia believes working with the system allows directors to push for reforms and have a dialogue with censors to establish a long-term change, and he and others want to show Chinese audiences their perspective on China and
Zen master Ming Zhaung of the Bailin Temple in Hebei Province has over 1,000 students who provide for his needs as he travels around China spreading Buddhist teachings. As China has become more prosperous and its people have more free time and freedom to think, interest in spirituality and religions like Buddhism has increased. Young, educated urban Chinese are drawn to Buddhism and other spiritual practices to find purpose and cope with modern pressures. While Christianity and Falun Gong face restrictions, the government has taken a relaxed approach to the revival of local religions like Buddhism and Daoism. Donations from devotees have helped repair thousands of Buddhist temples damaged during the Cultural Revolution, supporting Buddhism's revival in China.
Conflict Mineral Due Diligence and Reasonable Country of Origin Inquiry Matt Whitteker
Reasonable Country of Origin Inquiry and Due Diligence - Conflict Mineral Webinar by Assent Compliance. For more information contact info@assentcompliance.com or visit www.assentcompliance.com
The document summarizes several local business stories from a Kansas City business magazine. It discusses an oil wildcatter prospecting in Central America, local entrepreneurs launching an Australian wine label, and lawsuits alleging price fixing among major U.S. railroads including one based in Kansas City. It also briefly mentions using 3D technology for movie theater displays and a marketing career involving the Ginsu knife.
This document introduces SpecialChem e-Training Courses, which are online training sessions developed by industry experts. Each session includes a 1-hour presentation followed by a Q&A period. Courses cover topics relevant to various industries like plastics, adhesives, coatings and cosmetics. Thousands of professionals are trained annually to improve their skills and stay up-to-date. Courses allow interaction with experts and other attendees. SpecialChem offers flexible registration options at affordable prices for individuals or groups. Customers praise the courses for their practical focus and opportunity to engage with experienced instructors.
Drawn by strong currencies and fashion-hungry consumers, U.S. and European retailers are expanding aggressively in Canada and transforming its retail landscape. The biggest change came when Hudson's Bay Company was sold to NRDC Equity Partners, owner of Lord & Taylor and Fortunoff chains. NRDC plans to introduce more brands to compete with the growing presence of international fast fashion chains like H&M, Mango, and Zara. It also aims to change Hudson's Bay's culture to focus more on competitive pricing and brand offerings like competitors face in the U.S.
Zhang Yi Mou is considered the most talented film director in China. He was born in 1951 and grew up in poverty due to his family's association with the Kuomintang party. After experiencing hardship during the Cultural Revolution, he studied filmmaking at the Beijing Film Academy. His films often portrayed the struggles of pre-Communist China and were frequently censored, but also achieved international success, winning awards at Cannes and Berlin. Though sometimes criticized for pandering to the Chinese government with his later martial arts films, Zhang Yimou has overcome significant challenges to become one of China's most renowned directors.
Planet China is a collection of interviews and insights with experts, directors, designers, photographers, journalists, critics, and artists. Interviews with Jia Zhangke, Daniel Lee Postaer,William L. Gibson and Paul Bruthiaux,Robert G. Price, Shadow Chen, Guoke, Chi Wang, Ben Randall, Kevin Tallon, Duran Levinson.
Globalization And Commodification Of Chinese Cinemahgozen
This document discusses the commodification and globalization of Chinese cinema through an analysis of Zhang Yimou's film Hero and other films. It outlines Zhang's career trajectory from the Fifth Generation director who received early support from the Chinese government but was later banned, forcing him to seek international funding. His later films like Hero were financially successful but also conveyed a message supporting strong central authority that was controversial among critics. The document examines how Chinese cinema has become an international commodity and whether directors like Zhang have lost commitment to examining Chinese social issues.
Zen master Ming Zhaung of the Bailin Temple in Hebei Province has over 1,000 students who provide for his needs as he travels around China spreading Buddhist teachings. As China has become more prosperous and its people have more free time and freedom to think, interest in spirituality and religions like Buddhism has increased. Young, educated urban Chinese are drawn to Buddhism and other spiritual practices to find purpose and cope with modern pressures. While Christianity and Falun Gong face restrictions, the government has taken a relaxed approach to the revival of local religions like Buddhism and Daoism. Donations from devotees have helped repair thousands of Buddhist temples damaged during the Cultural Revolution, supporting Buddhism's revival in China.
Conflict Mineral Due Diligence and Reasonable Country of Origin Inquiry Matt Whitteker
Reasonable Country of Origin Inquiry and Due Diligence - Conflict Mineral Webinar by Assent Compliance. For more information contact info@assentcompliance.com or visit www.assentcompliance.com
The document summarizes several local business stories from a Kansas City business magazine. It discusses an oil wildcatter prospecting in Central America, local entrepreneurs launching an Australian wine label, and lawsuits alleging price fixing among major U.S. railroads including one based in Kansas City. It also briefly mentions using 3D technology for movie theater displays and a marketing career involving the Ginsu knife.
This document introduces SpecialChem e-Training Courses, which are online training sessions developed by industry experts. Each session includes a 1-hour presentation followed by a Q&A period. Courses cover topics relevant to various industries like plastics, adhesives, coatings and cosmetics. Thousands of professionals are trained annually to improve their skills and stay up-to-date. Courses allow interaction with experts and other attendees. SpecialChem offers flexible registration options at affordable prices for individuals or groups. Customers praise the courses for their practical focus and opportunity to engage with experienced instructors.
Drawn by strong currencies and fashion-hungry consumers, U.S. and European retailers are expanding aggressively in Canada and transforming its retail landscape. The biggest change came when Hudson's Bay Company was sold to NRDC Equity Partners, owner of Lord & Taylor and Fortunoff chains. NRDC plans to introduce more brands to compete with the growing presence of international fast fashion chains like H&M, Mango, and Zara. It also aims to change Hudson's Bay's culture to focus more on competitive pricing and brand offerings like competitors face in the U.S.
Zhang Yi Mou is considered the most talented film director in China. He was born in 1951 and grew up in poverty due to his family's association with the Kuomintang party. After experiencing hardship during the Cultural Revolution, he studied filmmaking at the Beijing Film Academy. His films often portrayed the struggles of pre-Communist China and were frequently censored, but also achieved international success, winning awards at Cannes and Berlin. Though sometimes criticized for pandering to the Chinese government with his later martial arts films, Zhang Yimou has overcome significant challenges to become one of China's most renowned directors.
Planet China is a collection of interviews and insights with experts, directors, designers, photographers, journalists, critics, and artists. Interviews with Jia Zhangke, Daniel Lee Postaer,William L. Gibson and Paul Bruthiaux,Robert G. Price, Shadow Chen, Guoke, Chi Wang, Ben Randall, Kevin Tallon, Duran Levinson.
Globalization And Commodification Of Chinese Cinemahgozen
This document discusses the commodification and globalization of Chinese cinema through an analysis of Zhang Yimou's film Hero and other films. It outlines Zhang's career trajectory from the Fifth Generation director who received early support from the Chinese government but was later banned, forcing him to seek international funding. His later films like Hero were financially successful but also conveyed a message supporting strong central authority that was controversial among critics. The document examines how Chinese cinema has become an international commodity and whether directors like Zhang have lost commitment to examining Chinese social issues.
1) Some Chinese protested the movie Kung Fu Panda, arguing it exploited Chinese culture and martial arts or had ties to Hollywood figures who criticized China.
2) However, many Chinese argued against boycotting the film, saying the links to controversial figures were too tenuous and that banning all foreign profits from China was unrealistic.
3) While nationalism motivated some protests, most Chinese saw the debate as minor and enjoyed the movie, showing that China can have balanced discussions on such issues.
This document summarizes the rise of China's film industry and Chinese companies' increasing investments in Hollywood film production. It notes that China has become the largest film market in the world due to massive cinema construction. Chinese companies like Wanda have invested in building cinemas and now seek Hollywood content to fill them. Initially, China only allowed a small quota of imported films and exercised strict censorship, but now allows more co-productions where Chinese companies co-finance Hollywood films in exchange for more favorable distribution terms in China. Several case studies of Chinese investments in individual films and production companies like STX Entertainment are examined.
The film Attack the Block is a 2011 British science fiction comedy film directed by Joe Cornish. It follows a gang of teenage boys in London who have to defend their neighborhood from an invasion of alien creatures. The movie poster analyzes how it effectively targets and appeals to its intended young, urban audience through elements like the young, ethnically diverse characters portrayed in urban clothing, the sci-fi elements depicting the alien invasion, and references to the popular zombie film Shaun of the Dead to draw in a wider audience.
Group Number: 12
Group Members: Sherif Khairy, Jordan Kij, Casey King, & Miho Kinoshita
Media Object:
Our group project will be based on “The Interview”, a film that was originally supposed to be released in theaters around the world, however due to threats from North Korea and online hacks, Sony released the film on streaming services, such as Netflix and Google Play. The reason we’ve decided to tackle “The Interview”, directed by Evan Goldberg and Seth Rogen is because the film has received multiple threats and backlash from the North Korea. The plot of the film is about a journalist, who lands an interview with the North Korean dictator Kim Jong-un. Later on in the film the journalist goes on a mission, where he must assassinate the dictator. During the month of July 2014, North Korean ambassador, Ja Song Nam spoke about the film to the United Nations, where he declared that North Korea considered this is an act of war, he also stated that “A reckless United States can provocate insanity”. However, despite the hacks and threats, Sony released the film in limited theaters and later on “The Interview” was released on streaming services, such as Netflix. That's why our group finds this topic so interesting, so much hard work went into trying to release the film, even though Sony knew they were taking a major risk.
This paper aims to investigate Chinese audience's preferences between Chinese and American films in 2015 by analyzing box office data and online movie reviews. The box office statistics show Chinese films were more popular financially. However, rating data indicates Chinese audiences preferred American films. Sentiment analysis of online comments finds sentiments towards American films were negative while sentiments towards Chinese films were positive. The paper discusses these contradictory results and limitations for future research.
Vertigo Films would be a suitable British film company to distribute the filmmakers' political thriller about the assassination of an MP at a school. As an independent studio that produces a variety of genres at low budgets, Vertigo would be more likely than a Hollywood conglomerate to take on a first-time film with no big stars. The filmmakers plan to self-release initially through film festivals and online platforms like YouTube and iTunes to promote it using social media. They cite examples like London to Brighton and Point Blank that had similar genres and target audiences to gauge potential performance. If successful in the UK, they would use American independent distributors Magnolia and Magnet to release it widely in the US, as those companies specialize
Vertigo Films would be a good potential British film company to distribute our thriller film. Vertigo varies its genres but does not specify the type of films it makes, so our thriller would appeal to a variety of audiences. It is not a large conglomerate so it would not be too expensive for them to distribute our low-budget, first-time filmmaker project. Magnet and Magnolia would also be suitable American distributors as they specialize in genres like ours, including horror and action thrillers, without the high costs of a major studio. Releasing our film on multiple formats like DVD and digital would help boost viewership by making it accessible to wider audiences.
Shanghai Business Review Feature - Kinnari MathrawalaKinnari Krenn
The Chinese film market has experienced rapid growth in recent years, with box office revenues doubling annually. This has attracted significant interest from Hollywood and other international film studios to enter the Chinese market through co-productions. Co-productions allow films to circumvent China's quota on imported films, and provide funding and access to the growing Chinese audience. However, international studios must navigate cultural and regulatory differences to succeed in China. While partnerships can help studios understand the Chinese market, differences in filmmaking practices present challenges for co-productions. Rapid industry growth in China is also increasing competition for filmmaking talent and driving up costs.
This document discusses two films - Fight Club (1999) and Juno (2008) - in the context of audience theory and debates around their film certification. For Fight Club, the BBFC had concerns about explicit violence scenes that could influence viewers, and required cuts to scenes of glamorized violence for it to receive an 18 rating rather than a more restrictive rating. For Juno, the BBFC felt references to sex and a brief horror scene meant it should receive a 12A rating rather than the requested PG, due to potential influences on adolescent viewers around topics like teenage pregnancy.
This document discusses key aspects of film marketing and distribution. It begins by explaining that distributors must identify a film's unique selling point to appeal to audiences. They will emphasize elements like stars, special effects, or the director. The distributor then decides how to position the film in promotional materials like posters and trailers. Marketing is crucial, and can involve techniques such as posters, trailers, online content, screenings, interviews, merchandise, and film festivals. An effective marketing strategy is important to maximize a film's commercial success.
This document provides a marketing plan for the film "Shanghai Calling" produced by Americatown, LLC. It includes a company description, business mission, situation analysis with an industry analysis and SWOT analysis, marketing objectives and strategy. The film is a romantic comedy about an American in Shanghai that has found success internationally but is now being released in the US on various digital platforms. The target market is Asian/Asian American women interested in romance. The plan outlines strengths like its cultural appeal and star actors, weaknesses like average reviews, and a marketing mix to promote the film.
The document compares the British and Hollywood film industries, using the films "Attack the Block" and "Super 8" as examples. While Hollywood films on average receive lower critic ratings than low-budget British films, "Super 8" received a higher rating than "Attack the Block". "Attack the Block" had a smaller budget but higher worldwide gross than "Super 8". The document argues that the British film industry uses its money more wisely than Hollywood, which focuses more on business than art.
The document discusses the Chinese film "Tiny Times" and how it reflects growing materialism and individualism in China, particularly among younger generations, in contrast to Mao's vision of communist asceticism. While popular among many young viewers, the film was also criticized by some as promoting shallow materialism and an inaccurate portrayal of modern Chinese women and society. It examines the film's significance as a sign of China's social and cultural changes since Mao's time.
The document summarizes and analyzes 6 different film posters:
1) Avatar - Uses interesting techniques like characters at top and floating elements to draw in audiences.
2) Pain and Gain - Features threatening actors and action scenes to attract male audiences.
3) Ted - Highlights good reviews and humorous imagery to show the film's humor.
4) The Expendables - Uses famous action stars to attract audiences excited for action.
5) World War Z - Features climbing zombies and Brad Pitt to draw in audiences with horror and star power.
6) The Dark Knight Rises - Advertises awards and features violence and Michael Caine to attract audiences.
1) Some Chinese protested the movie Kung Fu Panda, arguing it exploited Chinese culture and martial arts or had ties to Hollywood figures who criticized China.
2) However, many Chinese argued against boycotting the film, saying the links to controversial figures were too tenuous and that banning all foreign profits from China was unrealistic.
3) While nationalism motivated some protests, most Chinese saw the debate as minor and enjoyed the movie, showing that China can have balanced discussions on such issues.
This document summarizes the rise of China's film industry and Chinese companies' increasing investments in Hollywood film production. It notes that China has become the largest film market in the world due to massive cinema construction. Chinese companies like Wanda have invested in building cinemas and now seek Hollywood content to fill them. Initially, China only allowed a small quota of imported films and exercised strict censorship, but now allows more co-productions where Chinese companies co-finance Hollywood films in exchange for more favorable distribution terms in China. Several case studies of Chinese investments in individual films and production companies like STX Entertainment are examined.
The film Attack the Block is a 2011 British science fiction comedy film directed by Joe Cornish. It follows a gang of teenage boys in London who have to defend their neighborhood from an invasion of alien creatures. The movie poster analyzes how it effectively targets and appeals to its intended young, urban audience through elements like the young, ethnically diverse characters portrayed in urban clothing, the sci-fi elements depicting the alien invasion, and references to the popular zombie film Shaun of the Dead to draw in a wider audience.
Group Number: 12
Group Members: Sherif Khairy, Jordan Kij, Casey King, & Miho Kinoshita
Media Object:
Our group project will be based on “The Interview”, a film that was originally supposed to be released in theaters around the world, however due to threats from North Korea and online hacks, Sony released the film on streaming services, such as Netflix and Google Play. The reason we’ve decided to tackle “The Interview”, directed by Evan Goldberg and Seth Rogen is because the film has received multiple threats and backlash from the North Korea. The plot of the film is about a journalist, who lands an interview with the North Korean dictator Kim Jong-un. Later on in the film the journalist goes on a mission, where he must assassinate the dictator. During the month of July 2014, North Korean ambassador, Ja Song Nam spoke about the film to the United Nations, where he declared that North Korea considered this is an act of war, he also stated that “A reckless United States can provocate insanity”. However, despite the hacks and threats, Sony released the film in limited theaters and later on “The Interview” was released on streaming services, such as Netflix. That's why our group finds this topic so interesting, so much hard work went into trying to release the film, even though Sony knew they were taking a major risk.
This paper aims to investigate Chinese audience's preferences between Chinese and American films in 2015 by analyzing box office data and online movie reviews. The box office statistics show Chinese films were more popular financially. However, rating data indicates Chinese audiences preferred American films. Sentiment analysis of online comments finds sentiments towards American films were negative while sentiments towards Chinese films were positive. The paper discusses these contradictory results and limitations for future research.
Vertigo Films would be a suitable British film company to distribute the filmmakers' political thriller about the assassination of an MP at a school. As an independent studio that produces a variety of genres at low budgets, Vertigo would be more likely than a Hollywood conglomerate to take on a first-time film with no big stars. The filmmakers plan to self-release initially through film festivals and online platforms like YouTube and iTunes to promote it using social media. They cite examples like London to Brighton and Point Blank that had similar genres and target audiences to gauge potential performance. If successful in the UK, they would use American independent distributors Magnolia and Magnet to release it widely in the US, as those companies specialize
Vertigo Films would be a good potential British film company to distribute our thriller film. Vertigo varies its genres but does not specify the type of films it makes, so our thriller would appeal to a variety of audiences. It is not a large conglomerate so it would not be too expensive for them to distribute our low-budget, first-time filmmaker project. Magnet and Magnolia would also be suitable American distributors as they specialize in genres like ours, including horror and action thrillers, without the high costs of a major studio. Releasing our film on multiple formats like DVD and digital would help boost viewership by making it accessible to wider audiences.
Shanghai Business Review Feature - Kinnari MathrawalaKinnari Krenn
The Chinese film market has experienced rapid growth in recent years, with box office revenues doubling annually. This has attracted significant interest from Hollywood and other international film studios to enter the Chinese market through co-productions. Co-productions allow films to circumvent China's quota on imported films, and provide funding and access to the growing Chinese audience. However, international studios must navigate cultural and regulatory differences to succeed in China. While partnerships can help studios understand the Chinese market, differences in filmmaking practices present challenges for co-productions. Rapid industry growth in China is also increasing competition for filmmaking talent and driving up costs.
This document discusses two films - Fight Club (1999) and Juno (2008) - in the context of audience theory and debates around their film certification. For Fight Club, the BBFC had concerns about explicit violence scenes that could influence viewers, and required cuts to scenes of glamorized violence for it to receive an 18 rating rather than a more restrictive rating. For Juno, the BBFC felt references to sex and a brief horror scene meant it should receive a 12A rating rather than the requested PG, due to potential influences on adolescent viewers around topics like teenage pregnancy.
This document discusses key aspects of film marketing and distribution. It begins by explaining that distributors must identify a film's unique selling point to appeal to audiences. They will emphasize elements like stars, special effects, or the director. The distributor then decides how to position the film in promotional materials like posters and trailers. Marketing is crucial, and can involve techniques such as posters, trailers, online content, screenings, interviews, merchandise, and film festivals. An effective marketing strategy is important to maximize a film's commercial success.
This document provides a marketing plan for the film "Shanghai Calling" produced by Americatown, LLC. It includes a company description, business mission, situation analysis with an industry analysis and SWOT analysis, marketing objectives and strategy. The film is a romantic comedy about an American in Shanghai that has found success internationally but is now being released in the US on various digital platforms. The target market is Asian/Asian American women interested in romance. The plan outlines strengths like its cultural appeal and star actors, weaknesses like average reviews, and a marketing mix to promote the film.
The document compares the British and Hollywood film industries, using the films "Attack the Block" and "Super 8" as examples. While Hollywood films on average receive lower critic ratings than low-budget British films, "Super 8" received a higher rating than "Attack the Block". "Attack the Block" had a smaller budget but higher worldwide gross than "Super 8". The document argues that the British film industry uses its money more wisely than Hollywood, which focuses more on business than art.
The document discusses the Chinese film "Tiny Times" and how it reflects growing materialism and individualism in China, particularly among younger generations, in contrast to Mao's vision of communist asceticism. While popular among many young viewers, the film was also criticized by some as promoting shallow materialism and an inaccurate portrayal of modern Chinese women and society. It examines the film's significance as a sign of China's social and cultural changes since Mao's time.
The document summarizes and analyzes 6 different film posters:
1) Avatar - Uses interesting techniques like characters at top and floating elements to draw in audiences.
2) Pain and Gain - Features threatening actors and action scenes to attract male audiences.
3) Ted - Highlights good reviews and humorous imagery to show the film's humor.
4) The Expendables - Uses famous action stars to attract audiences excited for action.
5) World War Z - Features climbing zombies and Brad Pitt to draw in audiences with horror and star power.
6) The Dark Knight Rises - Advertises awards and features violence and Michael Caine to attract audiences.
1. China's 'pariah' directors adapt to a thaw
By R. Scott Macintosh
Published: THURSDAY, MARCH 17, 2005
BEIJING: Times have changed since the sentries at the State Administration of Radio, Film
and Television here kept photographs of the filmmaker Jia Zhangke on hand to keep him
from entering the building. Like other directors of his generation who have worked outside
the state-controlled movie industry, Jia's film artistry has been praised abroad and banned
at home. With his latest effort, "The World," his first government-approved movie, he has
turned from pariah to golden boy.
In April, in what appears to be a well-coordinated coming out party for the filmmaker, Jia's
fourth feature film will make its Chinese debut at the Hong Kong International Film Festival.
"The World" will then open in Seoul before its release in mainland China, East Asia and
Europe, all with the full support of the Chinese film authorities. Releases in North America
and Argentina will come in the spring.
To a die-hard auteur, this flip-flop could seem like a sellout. But in today's China, it's a sign
of the times. Filmmakers of the so-called Sixth Generation who first defied the state to
pursue their artistic visions are being lured into the Chinese mainstream. Tired of making
films that no one can see or that are available only on pirated DVDs, they are working with
censors to get their films shown on the mainland.
Jia said that by working within the system, directors are in a better position to push for an
end to state censorship and for changes to a distribution system that leaves many worthy
films invisible. "Some people say that I have gone 'inside,' which I don't agree with," Jia
said. "I want to serve as a bridge, first to allow the Chinese public to see more of these kinds
of films, second to establish a long-term dialogue between independent moviemakers and
the movie censorship authorities.
"This bridge," he continued, "is not only myself, but also other independent moviemakers
2. who have switched over as a group. We, as the young generation of directors, want to show
Chinese audiences how we look at China and the world. And we want to have regular
discussions with the authorities on how to reform the Chinese motion picture system."
The Sixth Generation movement began after the Tiananmen Square crackdown of 1989.
Frustrated with the way things were, young directors pursued artistic freedom underground.
Their films are gritty tales of rootless individuals struggling with the changes in modern
society and a departure from the sweeping epics of the Fifth Generation - Yimou Zhang's
"Raise the Red Lantern," for example, and Kaige Chen's "Farewell My Concubine."
Although Sixth Generation directors have won international praise, few people in their
homeland know of them. The best films have never been shown in theaters.
For Jia and other once-outlawed filmmakers, finding a Chinese audience has obvious
appeal. Cui Zi'en, a Sixth Generation filmmaker and a professor at the Beijing Film
Academy, estimates that about 20 percent of China's independents have switched to the
"official" side in the last year. Like Jia, they are about to get their first screenings at home.
Liu Hao's "Two Great Sheep," for one, is in theaters here now.
The switch can be traced to a meeting last year of government officials and filmmakers that
resulted in a policy change that makes it easier to submit movie ideas to the authorities.
Cui said: "The officials said, 'Join us. What's wrong with making commercial films that will
earn a lot of money and be seen by the public?' A lot of talented filmmakers were seduced
by that argument. The rule was changed to attract more talent to make movies that people
can watch. But it just makes it easier to get started. It's superficial, because after the product
is finished, you still have to go to the censors."
Filmmakers have different notions of how far to go and where to draw the lines of
compromise. Many have refused to cooperate, saying that to do so would result in their
films' losing their artistic edge.
Among other things, the independents are pressing the authorities to adopt a ratings system
and to scrap the censorship system. There are no real guidelines here on what is and what
is not permitted in film. Content is left to those censors' judgments.
And conflicts during the censorship process are common. Gu Changwei was forced to make
3. cuts to his film "Peacock," which won the Silver Bear award at the 2005 Berlin film festival
in February, because of "homosexual content." And Jia had to fight to keep a Russian
character from being cut from his film because she was involved with prostitution.
The most important thing is the director's independent expression and the spirit of
independence," Jia said. "Whether the film is approved by authorities or not, I'm going to
make films the way I want. So are other filmmakers." He said he believes the release of "The
World" will prove that it is possible to make an "official" film without compromising artistic
integrity.
"Right now the major change is that these filmmakers are being allowed to make films in
the system," said Katharina Schneider-Roos, who works with the Vienna film festival and
Unesco. "They have a point of view of China that they are being allowed to express, which
is a big change, and a Chinese audience that's allowed to see the films. Chinese officials
are eager to normalize the situation. They see it as an industry with a large commercial
side, and they want to be able to compete with big foreign industries like Hollywood. The
question is whether a Chinese audience will want to see these films."
That Jia is even getting a theatrical release is a major coup. But this has less to do with the
film than with his success in breaking the state monopoly over film distribution by forming
his own company to handle the domestic release of "The World" and other art films.
Commercial movies are favored over art films in the Chinese market. Out of the 200 or so
movies made each year, about 50 are distributed. Theaters often show only one movie
even if they have several screens. And art films have been known to languish for years
before getting a screening, if they are screened at all.
"I was worried," Jia said. "That's why I started my own company. There are production
companies for art films, but the problem is that there are no professional distribution
companies to allow art movies to be shown. We are solving that problem."
Jia hopes to distribute one new film every quarter. Among the movies his company will
distribute this year is the first "official" film by Wang Xiaoshuai, director of "The Days,"
which is considered a seminal work of the Sixth Generation. Jia also is producing the new
film.