"Hollywood's China syndrome: Plots and characters changed to suit huge new audience"

newworldafro

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Hollywood's China syndrome: Plots and characters changed to suit huge new audience - News - Films - The Independent

Hollywood's China syndrome: Plots and characters changed to suit huge new audience

Asian giant is now the second-biggest box-office market – so producers are altering movies to make them more appealing to film-goers there

Tim Walker

Sunday 07 April 2013


It's a very far cry from the days of Charlie Chan movies. Hollywood is now in full, panting pursuit of the Chinese film market, the world's second largest, and it's prepared to alter scripts, recast baddies, and transplant entire productions to win the business.

Paramount Pictures signed the latest in a lengthening list of deals between the American and Chinese film industries last week. In order to produce the fourth instalment of its blockbuster Transformers franchise, the Hollywood studio is buddying up with two Beijing-based businesses, one of which, China Movie Channel, is owned and operated by the Chinese State Radio, Film and Television Administration. As part of the agreement, laid out in a press release, the Chinese firms will assist with "selection of filming sites within China, theatrical promotion and possible post-production activities in China, as well as casting of Chinese actors and actresses".

On the same day, news emerged that Paramount had altered the script of its forthcoming zombie epic, World War Z, so as not to alienate or enrage Chinese audiences and the Communist Party censors who control their viewing habits. In the movie, Brad Pitt plays a United Nations worker in search of a cure for a global zombie pandemic, which one character mentions may have originated in China. The offending reference was reportedly removed, and replaced with the name of another country. A tiny change, maybe, but symptomatic of a trend in Hollywood, which has increasingly
been forced to compromise its content to satisfy the world's fastest-growing movie market.


Rob Cain, a producer who has been doing business with China for more than 15 years, says: "There are always strings attached to money, no matter where it comes from. I don't think there's anybody who makes films in China or anywhere else that likes the system of censorship there. But it's a reality and you have to deal with it. If you want to make movies, you just shut up and try to get away with what you can. Film-making is a business, and the business is moving towards China."

Last month, an annual report from the Motion Picture Association of America (MPAA) showed that China surpassed Japan in 2012 to become the world's second-biggest box-office market behind the US, with combined box-office revenues of $2.7bn (£1.8bn) – a 37 per cent rise on the previous year. With $10.8bn in takings, the North American market remained the world's largest by some distance, but research by Ernst & Young has found that, at its current growth rate, the Chinese box office could outpace the US by the end of the decade. Speaking at the release of his organisation's report, MPAA chairman and chief executive Christopher Dodd said: "China is building something like 10 screens a day. There is a voracious appetite for product."

Historically, the Chinese government has allowed no more than 20 non-Chinese films to be released in the nation's cinemas per year, but a trade deal agreed with the US in 2012 allowed for another 14 foreign releases annually, provided they were in 3D or Imax format. In December, the 3D Oscar nominee Life of Pi, by Taiwanese director Ang Lee, became the second Hollywood film to fare better in China than it had in the US, grossing $84.3m in Chinese ticket sales. The first to perform that feat was James Cameron's recent 3D re‑release of Titanic; his previous film, the grand sci-fi Avatar (2009), is the most successful American movie to date in China, where it made $294m.

Last year, the Chinese media mogul Bruno Wu announced plans to build "Chinawood", a $1.27bn movie studio in Tianjin, partially funded by the local government, and intended to generate US-Chinese co-productions. DreamWorks is planning to animate Kung Fu Panda 3 at a new studio in Shanghai, with the help of Chinese investors. Meanwhile, back across the Pacific, China's Dalian Wanda group recently purchased the AMC cinema chain, America's second largest, for $2.6bn. There is even speculation that a wealthy Chinese firm might soon shell out to buy its own Hollywood studio, as Japanese companies did in the 1980s and 1990s.

But as Hollywood expands into the Middle Kingdom, it has also learned the cost of crossing the country's strict censors. In 1997, Disney, Sony and MGM studios released Kundun, Seven Years in Tibet and Red Corner, a trio of films critical of China's human rights record; Beijing temporarily cut off business dealings with all three companies. They're unlikely to make the same mistake again. Cameron agreed to cut shots of Kate Winslet's breasts

from the Chinese version of Titanic 3D, telling The New York Times: "As an artist, I'm always against censorship … [But] this is an important market for me. And so I'm going to do what's necessary to continue having this be an important market for my films. And I'm going to play by the rules that are internal to this market."

He is far from alone. Bond producers excised the death of a Chinese security man from Skyfall before its release there, as well as several mentions of Javier Bardem's baddie having been tortured in a Chinese prison. Chinese villains were edited out of Pirates of the Caribbean: At World's End and Men in Black 3. For last year's remake of 1984's Red Dawn, in which a group of American teenagers formed a resistance against a Russian invasion, writers began by replacing the original villains with a dastardly Chinese army. But when a backlash began to brew in China, MGM spent $1m to alter digitally every offending flag, symbol and line of dialogue in the movie, transforming its invaders into North Koreans instead.

Film-makers have not merely removed unflattering references to China; they have also inserted flattering ones. A 2010 remake of The Karate Kid was transplanted to Beijing in its entirety, and Japanese karate replaced with Chinese kung fu. The imminent superhero sequel Iron Man 3 was partly shot in Beijing, and partly financed by Chinese firm DMG Entertainment; its producer Marvel (a Disney subsidiary) announced last week that it would release a specially tailored cut for Chinese audiences, featuring a cameo by the popular Chinese actress Fan Bingbing. Rian Johnson, writer-director of time-travel thriller Looper, moved much of his screenplay's action from Paris to Shanghai to secure Chinese funding.
 

Blackking

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So eventually they will own parts of all our media. The movies are being funded and studios being bought for a reason... The Chinese are huge capitalist( in a way) and their government is good at acquiring assets in other nations.
 

newworldafro

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News from The Associated Press

China pulls 'Django Unchained' on day of premiere

Apr 11, 6:19 AM EDT

BEIJING (AP) -- "Django Unchained" became "Django Unscreened" on Thursday as Quentin Tarantino's violent slave-revenge saga was pulled from Chinese theaters on its opening day, with the importer blaming an unspecified technical problem.

The rare suspension order by China Film Group Corp. was confirmed by theater employees throughout China, and has led to speculation that the Hollywood film could have run afoul of Chinese censors despite weeks of promotion in the country.

Calls to the importer and to China's regulatory agency, the State Administration of Radio Film and Television, were unanswered. The China office of Sony Pictures, which released the film, refused to comment.

"Django Unchained" reportedly cut some violent scenes and had already been cleared by China's rigorous censors, who generally remove violence, sex and politically edgy content. With such an exacting system, suspension on a film's premiere date is unusual.


Tian Zaixing, general manager of the Beichen Fortune Center movie theater in the southern city of Kunming, said he could not recall any other imported film being halted on the opening day. The order from China Film Group came in a phone call around 10 a.m., he said.

"We were excited about the film yesterday," he said. "We had had high expectations for this film's box office."

Tian said he had hoped the movie would bring about one-tenth of the monthly box office, or about 150,000 yuan ($24,000), to his six-screen theater in April. Now, he must scramble to fill newly opened slots for screening.

"This means we might not be able to meet our box-office goal for the year," Tian said.

The cited technical reason might only be a ruse, said Tian, who was unable to provide an alternative explanation.

He dismissed speculation that a nude scene was the offending culprit.

"The censors have sharper eyes than we do," Tian said. "Shouldn't they have already spotted it?" He added the scene was not lewd at all but powerful in making the audience sympathetic toward one character.

The film stars actors well known to the Chinese audience: Leonardo DiCaprio as a plantation owner and Jamie Foxx as a freed slave who trains to become a bounty hunter and demands his wife's freedom.

It made more than $160 million at the North American box office and has proved successful overseas as well. China has risen to the second-biggest movie market with sales of $2.7 billion last year, according to the Motion Picture Association of America.

A man who is on the official promotional team for the film but refused to give his name because of the perceived sensibility of the issue said there had been no prior warning about the suspension and that the film's midnight premiere was unaffected.

Photographer Xue Yutao said he was about one minute into the movie at a Beijing theater Thursday morning when a couple of theater employees walked in and told the audience that the screening would be postponed. The announcer did not give a reason or say when the movie would be re-shown, Xue said.

"It was so sudden. I was very shocked," Xue said. "How could this be possible? Something like this has never happened before."

Xue said he resorted to a pirated copy of the film and did not see anything that would have offended Chinese censors.

"I'm not a noble man," the photographer said of his viewing of pirated movies. "I would still prefer to see it in the theater."
 
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