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Thread: Chollywood rising

  1. #286
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    business trumped by government?

    Hollywood's China Money Heartbreak: Is the Love Affair Really Over?
    5:00 AM PDT 8/10/2017 by Scott Roxborough , Patrick Brzeski


    Zhang Peng/LightRocket (Money), Bill O'Leary/The Washington Post (Trump), Krisztian Bocsi/Bloomberg (Xi), Chip Somodevilla (Scaramucci), Win McNamee (Schumer), Han Haidan/CNSPHOTO/VCG (Wang), all Getty Images

    Billions have been thrown into turmoil as Chinese regulators crack down on investments, Paramount’s backer skips a payment and both Trump and some Dems adopt a protectionist stance.

    For nearly five years, Hollywood has been buoyed by a flood of cash from China in the form of both surging box-office revenue and multibillion-dollar investments in studio slates and independent film companies.

    The most high-profile pacts have involved some of the biggest brands in both China and Hollywood, such as real estate behemoth Dalian Wanda, which bought Legendary Entertainment for $3.5 billion in 2016 and owns leading U.S. cinema exhibitor AMC Entertainment; internet giant Alibaba, which in October took an equity stake in Steven Spielberg’s shingle Amblin; China Media Capital, which owns part of Brian Grazer and Ron Howard’s Imagine Entertainment; and Fosun, financiers of Jeff Robinov’s Studio 8.

    With a largely stagnant domestic movie business — so far this year, box-office receipts in North America are down 3 percent — the film studios have come to rely on Chinese capital to get their movies made and keep profits climbing.

    But economic and political shifts coming from both Washington and Beijing are threatening to create a perfect storm of regulatory upheaval that could sink, or at least beach, future U.S.-China media deals.

    “Hollywood should be worried because now we are seeing pressure [to crack down on deals] from both ends,” says Stanley Rosen, a professor of political science at USC who studies China’s film industry. “Access to the Chinese market will continue, but investment from China in the U.S. entertainment industry will be toned down considerably.”

    Already there are signs of disruption in the Sino-Hollywood love affair. Several big deals that were in the works — Wanda’s $1 billion takeover of Dick Clark Productions, the $345 million acquisition of Voltage Pictures by Chinese mining group Anhui Xinke and a $416 million investment by China’s HNA Group in U.S. in-flight entertainment provider Golden Eagle — have failed, with sources citing a regulatory crackdown in China as a major reason for their demise.

    Another high-profile deal involving HNA — the company’s planned $200 million acquisition of Skybridge Capital, an investment group controlled by former White House director of communications Anthony Scaramucci — also could face renewed scrutiny in what would be yet another blow for “The Mooch,” whom President Trump fired just 10 days into the job.

    The protectionist tendencies of Trump, who made China-bashing a pillar of his election campaign, have found rare bipartisan support from Capitol Hill, with several lawmakers pushing for increased regulatory scrutiny of Sino-Hollywood deals. On Aug. 1, Sen. Chuck Schumer, the ranking Democrat in the Senate, went a step further, calling on Trump to block all major Chinese investment in the U.S. as a means of pressuring Beijing to do more to deter North Korea’s nuclear missile program.

    Meanwhile, Beijing officials have tightened restrictions on outside investment by mainland firms, worried that too many companies are using U.S. media acquisitions as a means of funneling money offshore. On Aug. 3, Viacom disclosed that it did not receive its expected June payment from Huahua Media, the Chinese group that has a three-year, $1 billion deal to fund 25 percent or more of Paramount’s film slate. Paramount has been counting on that cash to help it bounce back from years of financial losses.

    Then there’s the case of Dalian Wanda, which in July saw its standing as perhaps China’s most aggressive acquirer of Hollywood assets — including Legendary and AMC — plummet after the company and its brash chairman, Wang Jianlin, became the target of a crackdown on debt that resulted in the $9.3 billion sale of the bulk of its theme park and hotel interests. The company now reportedly is barred from receiving loans from the country’s biggest banks, leading some to question the long-term financial health of the U.S. companies in its stable.

    Legendary insists it is “business as usual,” but the studio has significant overhead (with about 300 employees) and doesn’t have a new film hitting theaters until the spring, when it rolls out Pacific Rim: Uprising, the sequel to the 2013 actioner that grossed $411 million worldwide. Legendary’s recent run has been mixed, with the flop of The Great Wall set against the global success of Kong: Skull Island. In 2015, the last year for which figures are available, Legendary lost $560 million.

    There have been some encouraging signs that business still is being done, such as the Aug. 7 announcement that Tang Media Partners, which has several Chinese backers, finalized the acquisition of troubled Spotlight studio Open Road Films. While incoming CEO Rob Friedman says the deal is secure from Chinese regulators ("I have no concerns about that whatsoever," he tells THR), truly big deals of the Wanda-Legendary or Alibaba-Amblin variety look scarce.

    All eyes now are on Paramount’s financing agreement with Huahua, the last big studio slate deal signed after China began its crackdown. The deal has been a money loser for Huahua so far, with disappointing box-office performances for Paramount’s recent titles, including Transformers: The Last Knight, which underperformed in the Middle Kingdom, earning about $230 million compared with $320 million in China for Transformers: Age of Extinction.

    Christopher Spicer, an attorney at Akin Gump who has packaged several China pacts, says studio slate deals are unlikely to be impacted by the current crackdown. Instead, he sees problems for U.S. film companies looking for Chinese corporate equity. Deals like the one China Media Capital inked with Imagine Entertainment or Fosun with Studio 8 — a Chinese company spending big to acquire a piece of a Hollywood production house — might become a thing of the past.

    “I don’t think the dream’s over … but companies selling for crazy [money] to Chinese companies, those deals are over,” says Spicer, who believes several China-Hollywood deals in the works still could go through, provided the Chinese firms in question have “enough money parked offshore” to bypass government restrictions on exporting capital.

    Lindsay Conner, a partner in charge of entertainment and media at the L.A. office of Manatt, cautions that large investments in Hollywood by Chinese companies outside the entertainment field — Voltage suitor Anhui Xinke is a mining company, and HNA Group runs a Chinese airline — could be over. “The Chinese government will continue to be skeptical of non-entertainment companies in China throwing money into entertainment investments,” he says. “They are concerned that it is motivated in part by a desire to get money out of China.”

    Conner, however, believes Beijing will continue to support established entertainment companies with global expansion plans. He expects deal making to pick up again by the end of the year, particularly after the ruling Communist Party holds its national congress in the Fall.

    “It's no longer a gold rush but (China) has shown they are still willing to let mature Chinese entertainment companies make thoughtful investments in Hollywood,” he says. “I believe that after a relatively brief period of lesser activity we will see a renewed level of activity."

    Others see the political saber rattling between Washington and Beijing as a sign that things likely are to get worse — maybe much worse. In his letter to the president, Sen. Schumer said Trump should use his authority over the Committee on Foreign Investment in the U.S. to hit Beijing with a suspension on “all mergers and acquisitions in the U.S. by Chinese entities.”

    If Trump wants to crack down on China, he has a number of options, including enacting Section 301 of the 1974 Trade Act which allows the Commander and Chief to take unilateral punitive measures, including fines and tariffs, against countries deemed guilty of “unfair” trading practices. Even the mere talk of such a move, insiders say, could pressure regulators to more closely scrutinize future deals and cast a pall over the Sino-Hollywood relationship.

    “Already you are seeing a more cautious approach on the part of regulators who are worried about potential political blowback if they approve a deal,” says DJ Rosenthal, a Washington-based analyst with corporate investigations and risk consulting firm Kroll.

    If Trump does take the nuclear option and reactivates Section 301, it could spell disaster for U.S.-Chinese business, not least because Beijing is likely to play tit for tat, imposing fines or restrictions of its own on U.S. companies.

    “They have a huge range of options,” notes Rosen. “They can slap a billion dollar fine on American companies working in China, they can add new regulations or restrictions to anyone doing business there. We are in a very bad position to try and influence the Chinese on this issue. They have a long-term plan and speak with one voice. We have no clear policy and an administration that says different, and contradictory, things one day to the next.”

    A version of this story first appeared in the Aug. 9 issue of The Hollywood Reporter magazine.
    Media control time?
    Gene Ching
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  2. #287
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    A back-up plan? They need a general plan first.

    Wolf Warrior 2 rekindled Chollywood's rising.

    Wolf Warrior 2 and the Future of Imported Films in China
    By Matthew Dresden on August 21, 2017
    POSTED IN CHINA BUSINESS, CHINA FILM INDUSTRY



    What a wild ride it’s been for the Chinese film industry! Until July 27, it had been a year of one depressing story after another. Downward-trending box office, high-flying entertainment companies imploding, deals to purchase foreign assets falling through, the biggest movie studio on the planet sold to a real estate developer, the can’t miss co-production The Great Wall tanking. Even the Transformers franchise couldn’t save the day, with the latest installment performing well below expectations in China.

    But on July 27, the action film Wolf Warrior 2 opened, and within 12 days of its release it had already become the highest-grossing film of all time in China. As of this writing the film has pulled in more than $720 million in China alone. The narratives are almost writing themselves, with pundits trying to explain why Chinese people are going in droves to see a jingoistic film about a Chinese special forces operative in Africa.

    I’m not going to wade into those waters except to note William Goldman’s aphorism that when it comes to the film business, “Nobody knows anything.” The phenomenal success of Wolf Warrior 2 was anything but a foregone conclusion. The first movie was a surprise hit, earning about $89 million, but it’s not like people were lining up Episode 1-style for a sequel. Back in May, Wolf Warrior 2 was pilloried online when it came to light that its trailer had lifted footage from X-Men: First Class. Moreover, Wolf Warrior 2 was released on the same date as the government-backed propaganda film The Founding of an Army, and the latter was allotted the lion’s share of screens.

    This movie – this particular movie – couldn’t have come at a better time for China. Hollywood is in the midst of negotiating the terms of foreign (read: Hollywood) films’ market access to China. American studios find China’s protectionism exasperating on multiple levels, with the biggest complaints being (1) the quota system, which only allows 34 foreign films (largely US studio films) each year on a revenue-sharing basis (2) the low percentage of receipts allotted to the foreign studio (currently 25%) for such revenue-sharing films, and (3) the foreign studio’s inability to control the release date. The last point is more serious than might immediately be apparent – not only does the Chinese government determine when each film will be released (via a largely opaque process), it also imposes unofficial blackouts during which no new foreign films are allowed to be released.

    Aside from discussions about WTO obligations and fair play, US studios’ best argument for expanding access to the Chinese film market has been an economic one: Chinese audiences want to see American movies (and don’t particularly want to see Chinese movies), and with thousands of new screens every year, Chinese movie theaters need movies people want to see. In other words, limiting the number of American movies hurts the Chinese economy.

    Setting aside the fallacy that the Chinese government’s interests are aligned with those of Chinese theater owners, the success of Wolf Warrior 2 upends all of those arguments. Wolf Warrior 2 was released on the first day of a blackout period, and it is already the most successful movie in Chinese history. It is a Chinese-made movie, with purely (even exclusively) Chinese content, and Chinese theaters are raking in the money – and not having to send any of it overseas. The Chinese government will likely infer that Wolf Warrior 2’s success is not in spite of their protectionist policies, but because of them. And President Trump’s saber-rattling about a trade war isn’t likely to improve their attitude.

    I certainly hope the U.S. negotiating team is able to make some headway, but U.S. studios and production companies shouldn’t assume anything. They need a backup plan, and right now the best one seems to be investing in and otherwise creating productions in China solely for the Chinese market. A number of studios and production companies are already going down this road, and I think it’s the smart play. Better to be an investor in the next Wolf Warrior than to be shut out completely.
    Gene Ching
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  3. #288
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    rethinking

    ‘Wolf Warrior II’s’ Massive Success Forces Studios to Rethink China Approach
    Patrick Frater
    Asia Bureau Chief


    COURTESY OF WEI HONG YUAN
    AUGUST 31, 2017 | 10:00AM PT

    As the Chinese box office sagged alarmingly for an entire year, from July 2016 to June 2017, filmmakers and studios in the Middle Kingdom began desperately searching for answers. Many concluded that bigger Chinese properties were the solution and banked on new, higher-quality franchises coming on stream in 2018.

    No one was paying much attention to “Wolf Warrior II.” They are now.

    Since its July 27 debut in China, the action thriller has confounded expectations to become a box office stunner. In less than two days, it surpassed the $88 million scored by the franchise’s first installment in 2015. Ten days later, it overtook last year’s sensation, “The Mermaid,” as China’s top-grossing film of all time. Now, its $810 million take after just five weekends has made “Wolf Warrior II” the second-highest-earning title in a single territory in history, behind “Star Wars: The Force Awakens” in North America.

    In the process, it has sparked rethinking in both China and Hollywood over how best to approach and exploit the Chinese movie market, which is on track to become the world’s largest in the next few years. “Wolf Warrior II” shows just what a well-crafted Chinese film — made with some foreign help — can do.

    The movie features a muscular, adrenaline-fueled story whose unstoppable hero is a former member of a fictitious Chinese special ops unit called the Wolf Warriors. The action takes place in an unnamed African country where China has built hospitals and provided factory jobs for the locals; the bad guys are revolutionaries and Western mercenaries. (If the politics sound jarring, just swap the nationalities.)

    Chinese audiences have responded strongly to the film’s patriotism and to the relentless action provided by former martial arts star Wu Jing as both director and protagonist.

    “China has found its ‘Rambo.’ This is definitely an important event.”
    RANCE POW, ARTISAN GATEWAY
    “It is a feel-good story for the Chinese population. The hero is a military guy, and the message is that he treats everyone equally. It is very modern, there’s a touch of comedy, and some 30% is spoken in English,” says Jeff Yip, business development director at The H Collective, a new U.S.-Chinese production and distribution firm. The company owns the rights to “Wolf Warrior II” for North America, where the film has made more than $2.3 million. A gross of $1 million is considered a hit for a Chinese movie Stateside, but the unparalleled performance of “Wolf Warrior II” in China has piqued greater interest. An Imax conversion that bowed Aug. 25 was given a limited outing in the U.S.

    The movie isn’t the product of one of China’s mega-studios, such as Huayi, Bona, Enlight or China Film Group, though Wanda owns a small piece. Rather, it was conceived and controlled by Beijing Century and by Wu, who started planning a sequel immediately after the first film, made for $5 million, hit pay dirt.

    Hollywood talent has contributed significantly to the second film. Increasing the budget to $30 million allowed Wu to bring in Joe and Anthony Russo as consultants and to pay for better production values. With the Russos came stunt director Sam Hargrave (“Captain America: Civil War”), composer Joseph Trapanese (“Tron: Legacy”) and a largely foreign sound unit. American actor Frank Grillo stars alongside Wu.

    The early signs weren’t promising. In May, a trailer launch was criticized for seemingly borrowing footage from “X-Men: First Class.” Even the film’s July 27 opening date seemed questionable, since it clashed directly with the government-backed propaganda movie “The Founding of an Army,” from director Andrew Lau. With the nationalistic plot of “Wolf Warrior II,” the two films seemed to appeal to the same constituency.

    But “Wolf Warrior II” has left “The Founding of an Army” in the dust, showing that support from the Chinese government isn’t everything. “What really worked for ‘Wolf Warrior II’ was combining the best elements of action and international stars in service of something enjoyable to Chinese audiences,” says Yip.

    The film was no doubt helped by being released during the summer blackout period, when major foreign movies are banned from domestic release. But that’s only part of the equation.

    “The filmmakers worked really hard to make this a quality production,” says Jane Shao, co-founder of exhibition chain Lumiere Pavilions. “At base, this is a hero movie no different from a Western or a Jackie Chan or Jet Li martial arts movie of old.”

    For Hollywood, the lesson is that its obsession with China’s quota on imported films, now the subject of a new round of talks by U.S. and Chinese negotiators, is potentially shortsighted. Instead, Hollywood studios looking to bolster their bottom lines might want to redouble efforts to back local filmmakers in China and invest in high-quality local content, not just in their own tentpoles.

    “China has found its ‘Rambo.’ We expect more movies in this space,” says Rance Pow, founder/CEO of consultancy Artisan Gateway. “This is definitely an important event.”

    Always trying to make films that work in both the U.S. and China might be a futile exercise. Many variations on the theme have been tried: overblown co-productions; Hollywood films that try to cater to Chinese tastes but still get it wrong; Chinese pictures that wrongly assume that the casting of a Western star will translate into overseas sales.

    The astounding box office performance of “Wolf Warrior II” suggests that in a country of 1.3 billion people, succeeding on home turf alone can be more than enough.
    At this point, is it wise to make assumptions about what China might assume?

    WolfvWarrior 2 & Chollywood rising
    Gene Ching
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  4. #289
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    2017 in a nutshell for China

    3 Reasons China’s Box Office Soared This Summer While the US Flopped
    One hit movie and a fanbase with diverse tastes helped the Middle Kingdom get back on its double-digit growth track
    Matt Pressberg | September 25, 2017 @ 5:35 PM



    This summer, a high-octane action movie captivated audiences in one of the world’s largest film markets, grossing nearly $1 billion and changing the trajectory of its box office forecast. And while that seems like welcome news for the slumping U.S. box office, it wasn’t: the movie was China’s “Wolf Warrior 2.”

    “Wolf Warrior 2,” directed by and starring Wu Jing, made more than $800 million in China at the same time U.S. box office was struggling through its worst summer slump in more than a decade. (New Line’s record-setting “It” helped the domestic box office bounce back in September, but it remains down nearly 5 percent year-to-date.)

    At the Future of Asia Conference put on by the Los Angeles World Affairs Council in Santa Monica earlier this month, Leeding Media CEO David U. Lee said the Chinese box office could finish up as much as 20 percent this year, a welcome performance after the world’s fastest-growing movie market flatlined last year following years of double-digit growth. Jonathan Papish, a box office analyst at China Film Insider, said that growth rate is possible if including online ticketing fees, but even adjusting for those, it should still finish up by a healthy mid-teens percent.

    With all the doom and gloom in Hollywood, here’s how China held strong:

    Sometimes it only takes one movie

    “The difference between this year and last can mainly be attributed to the success of ‘Wolf Warrior 2,'” Papish told TheWrap. “In fact, removing its current gross (5.28 billion yuan) would actually place this year’s box office behind last year’s, excluding ticketing fees.”

    “Wolf Warrior 2” passed Stephen Chow’s “The Mermaid,” which was released last February, to become China’s all-time highest-grossing movie. “The Mermaid” got 2016 off to a strong start, but a combination of reduced ticket subsidies and a weak local slate turned it into a major disappointment, as the Chinese box office grew just 4 percent last year, and actually declined in dollar terms, as the Chinese yuan weakened against the U.S. currency.

    But “Wolf Warrior 2’s” record-setting performance, which came during the busier summer season, almost single-handedly gave 2017 a different ending.

    China isn’t as reliant on one type of film as the U.S. has become


    In 2015, it took “Star Wars: The Force Awakens” to propel the domestic box office to a record high. Last year, five of the 10 highest-grossing films in North America were either “Star Wars” or superhero movies. And even this year, the industry is largely counting on “Star Wars: The Last Jedi,” along with comic-book adaptations “Thor: Ragnarok” and “Justice League” to rescue a brutal 2017.

    But despite China being a much less mature movie market, its audiences seem to have a diversity of tastes that make it less reliant on droids and Avengers than the U.S. is.

    Hollywood continues to count heavily on caped crusaders and their ilk, with Warner Bros. “Wonder Woman,” Disney’s “Guardians of the Galaxy Vol. 2” and Sony’s “Spider-Man: Homecoming” making up three of the top 5 domestic films thus far this year. But it’s a different story in China, where a mix of homegrown films and non-comic book based movies have been among its strongest performers.

    “If ‘War for the Planet of the Apes’ eventually surpasses ‘Spider-Man: Homecoming,’ a Hollywood superhero film will fail to rank in the top 10 highest-grossing imports of the year for the first time since 2003,” Papish wrote earlier this month.

    Hollywood hits disappointed at home, but imports soared in China

    “Wolf Warrior 2” was easily the major story behind China’s box office turnaround, but imports also did their duty.

    Hollywood’s superhero hits didn’t do the numbers in the Middle Kingdom they did at home, but domestic disappointments like “Transformers: The Last Knight” and “xXx: Return of Xander Cage” soared in China. And Indian film “Dangal,” which made just $12.4 million domestically, hauled in a whopping $193 million in China.

    “2017 has been a stronger year for imported films,” Papish said. “Can’t [just] say Hollywood because ‘Dangal’ is currently the 3rd highest-grossing import of the year.”

    China still needs Hollywood films to fill its ever-expanding supply of theaters. But the good news for its filmmakers — potentially bad news for Hollywood — is that its box office no longer lives and dies with them.
    Chollywood rising due to WW2

    Transformers: The Last Knight
    xXx: Return of Xander Cage
    Dangal
    Gene Ching
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  5. #290
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    $40 M missing

    I've been wondering when corruption would become more prominent in this. So much quick money at play - seemed inevitable.

    Hollywood Cheated of Millions at China Box Office, MPAA Audit Finds (Report)
    8:09 AM PDT 10/3/2017 by Patrick Brzeski


    Zhang Peng/LightRocket (Money), Bill O'Leary/The Washington Post (Trump), Krisztian Bocsi/Bloomberg (Xi), Chip Somodevilla (Scaramucci), Win McNamee (Schumer), Han Haidan/CNSPHOTO/VCG (Wang), all Getty Images

    PricewaterhouseCoopers has discovered that ticket sales in China were underreported by as much as 9 percent last year.
    Chinese cinemas have been skimming millions in ticket revenue from the Hollywood studios, an MPAA audit of the country's massive theatrical film market has found.

    According to a Wall Street Journal report published early Tuesday, PricewaterhouseCoopers, investigating on behalf of the MPAA, has discovered that ticket sales in China were underreported by as much as 9 percent in 2016, which amounts to at least $40 million in missing revenue for the six major U.S. studios.

    International film studios are currently entitled to a 25 percent share of box-office revenue in China, and the U.S. studios' films officially grossed $1.87 billion there last year — which leaves a take-home of about $470 million.

    With China expected to surpass North America as the world's largest theatrical market sometime in the next five years, U.S. studios have grown increasingly reliant on strong returns from the Middle Kingdom to prop up the global performance of their biggest tentpoles. For example, both Universal and Paramount's biggest movies this year — The Fate of the Furious and Transformers: The Last Knight, respectively — earned more in China than in North America.

    But Chinese cinemas have been known to employ various tactics to game the system. The MPAA's auditors found incidences of fraud during their inquiry, including unreported screenings, under-reported audience sizes and ticket sales miscategorized as concessions, the Journal's sources, which were unnamed, said.

    The MPAA's member studios have long been concerned about skimming in China. Under mounting pressure from the lobbying group and U.S. trade officials, China secretly agreed in 2015 to allow the first independent box-office audit to take place within its borders, sources told The Hollywood Reporter at the time. That investigation finally got underway this past summer.

    PWC reviewed Hollywood's 29 biggest movies released in China in 2016, and investigated 125 screens run by 27 different cinema chains in cities large and small across the country, the Journal's sources close to the auditors said. The results were then used to generate estimates for China's 43,000-plus screens, which is the world's largest count.

    The exercise is understood to be just the first of more MPAA audits to come.

    The Hollywood audits are involved in the ongoing renegotiation of the U.S. film industry's terms of doing business in China. A prior five-year trade agreement — which covered everything from how many U.S. movies China accepts into its cinemas to what share of revenue Hollywood studios are entitled to take home — expired in February. Officials from the two nations are now at work on a new agreement, with the U.S. side pushing for greater market access and a fairer playing field, and the Chinese looking to safeguard the development of their still-nascent domestic industry.

    Beijing is known to share Hollywood concerns about the malfeasance within its multiplexes, as fraud cuts into the earnings of local studios, too. Earlier this year, Chinese regulators named, shamed and punished 326 local cinemas for cooking the books — the first major enforcement of a new national film law, which went into effect in March.
    Gene Ching
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    Slump to surge

    Remember all the reports on the previous page about how the Chinese film market was in a slump?

    China Box Office Forecast to Surge to $8.3B in 2017
    12:55 AM PDT 10/20/2017 by Patrick Brzeski


    Courtesy of Well Go USA
    'Wolf Warrior 2'

    The total would represent growth of 20 percent for the year, a major comeback over 2016, when growth slowed to 3.7 percent.

    China's movie box office is expected to surge 20 percent-plus in 2017, hitting a record total of $8.31 billion (55.0 billion yuan), the country's media regulator said Friday.

    In yuan terms, the figure would be up 20 percent, while the growth in dollar terms would hit 26 percent.

    The sizable expansion would mark a major turnaround from 2016, when tickets sales grew by just 3.7 percent to $6.58 billion (45.7 billion yuan) after averaging 35 percent yearly gains for a decade.

    The 2017 forecast was made by Zhang Hongsen, vice minister of the State Administration of Press, Publication, Radio, Film and Television, during a press conference on the sidelines of China's 19th Party Congress, Reuters reported.

    "The rapid development of the film industry has been a big bright spot for China’s culture industry,” Zhang said.

    The return to double-digit growth would put China back on track to overtake North America as the world's largest box-office territory within a handful of years. North American box office revenue grew by 2.1 percent in 2016, settling at $11.36 billion.

    A sizable chunk of China's gains were driven by the historic success of local action flick Wolf Warrior II, which brought in $863 million over the summer. No Chinese film has ever earned more, and only J.J. Abrams' Star Wars: The Force Awakens exceeded it in a single market, grossing $936.6 million in North America in 2015.

    Hollywood's biggest release in the Middle Kingdom so far this year has been Universal's The Fate of the Furious, which earned $392.8 million in April, an all-time record for an imported title.
    Gene Ching
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    The shift continues...

    NOVEMBER 5, 2017 8:00AM PT
    Chinese Audiences Move Away From Hollywood Pictures
    Mainland moviegoers are starting to embrace foreign films from countries other than the U.S.
    By Vivienne Chow


    CREDIT: VARIETY

    Hollywood blockbusters are still leading the way in China’s box office, but audiences living in the world’s second-largest film market have displayed signs of hunger for more diverse movie imports.

    Indeed, foreign films from outside Hollywood have proved to be popular in China over the past year. The most recent example is Thai picture “Bad Genius.” The comedy drama about smart students making big bucks out of cheating at exams raked in 221 million yuan ($33.3 million) as of Oct. 23, 11 days after its opening in China, the highest-grossing Thai movie in the country.

    But that has yet to beat Bollywood sports film “Dangal,” by Aamir Khan, which took nearly 1.3 billion yuan ($195.8 million) in China this year — the most popular non-Hollywood foreign film in China, currently ranking at 19th of the country’s list of all-time highest-grossing movies.

    “Hollywood movies are still top choices for Chinese audiences, but now they want more,” says Gong Geer, a film producer in China.

    While Hollywood blockbusters continue their status as mainstream entertainment, a look at box office receipts reveals the growing popularity of non-Hollywood foreign films.

    Prior to the success of “Dangal,”the Japanese fantasy animated film “Your Name,” which was released at the end of 2016, earned $84 million at the box office, the highest-grossing non-Hollywood feature at the time.

    Spanish thriller “Contratiempo,” which was released in September, made $25.6 million in China, a box office surprise considering a lack of publicity prior to its theatrical release. It surpassed “Spider-Man: Homecoming” five days after its opening. The film has earned high ratings among the audience, with a score of 8.7 out of 10 on Chinese movie website Douban.

    Luc Besson’s “Valerian and the City of a Thousand Planets,” a French action sci-fi pic that bombed in the U.S., earned $61.8 million when it was released in China this summer, according to China movie website Mtime.

    And according to China movie website Yiyuguancha, as of Sept. 22, 33 import films totaled $723 million in the box office in 2017. The 19 non-Hollywood imports accounted for $519.7 million, 70% of the total box office in 2017 as of the time the report was released.

    On the other hand, Hollywood films have not performed as well as expected. “Transformers: The Last Knight” earned $22.5 million, half of what it was predicted. “The Lost City of Z” pulled in just $1 million, an embarrassing flop.

    Chinese critic Hong Shui wrote that audiences are growing tired of formulaic Hollywood blockbusters. Such movies are also losing out in public ratings on movie websites such as Douban and MTime.

    More non-Hollywood fare will most likely make its way to China. Leomus Pictures CEO Qiu Jie told Chinese media that new films different from Hollywood blockbusters will be what audiences really want.

    Gong adds that when audiences see Hollywood films the expected their money to be well-spent. But when it came to other foreign films, they’re more open-minded. “Audience respect quality films,” he says.
    We've talked about Dangal. Anyone see Valerian?
    Gene Ching
    Publisher www.KungFuMagazine.com
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    Will Hollywood be saved by the Last Jedi?

    CHINA'S ANSWER TO RAMBO
    China’s box office is setting new records—with a bit of Hollywood help


    The number one movie in China. (AP Photo/Andy Wong)

    WRITTEN BY Ashley Rodriguez
    OBSESSION Glass
    3 hours ago

    China’s biggest movie of the year wasn’t a popular Western actioner like the Fast & Furious and Transformers films. It was Wolf Warrior 2, a homegrown action sequel about a Chinese special forces agent who comes out of retirement to fight Western mercenaries.
    With $854 million at the Chinese box office, the movie is now the second highest-grossing of all-time in a single market. Only Star Wars: The Force Awakens, which earned $937 million in North America in 2015, has done better.
    It also helped China’s box office cross a new threshold. On Nov. 20, the box office surpassed 50 billion yuan ($7.5 billion) for the first time in a single year, said the state authority.
    This comes a year after sagging growth had filmmakers and studios worried that China’s decade of average annual box-office growth of at least 35% was over. In 2016, the total box office grew 3.7% year over year, compared to 48% the prior year. But the world’s second-largest movie market appears to be getting back on track.
    After a disappointing summer, the North American box office is down 4% from last year at $9.38 billion through Nov. 19. Tickets sold are also down 7% around 1.05 billion, Box Office Mojo estimated. That’s compared to a 15% increase to 1.4 billion admissions in China. There, movies that bombed with US audiences, like Transformers: The Last Knight, still prevailed.
    And while Wolf Warrior 2 is pure hyper-nationalist China, it did have a bit of help from the Americans.
    How Hollywood aided “Wolf Warrior 2”
    Called China’s answer to Rambo, the patriotic movie had its fair share of Western influences. The sequel’s larger, $30 million budget afforded it input from Marvel directors Joe and Anthony Russo, from Captain America: Civil War and Avengers: Infinity War, Variety reported. The brothers consulted on the film, US actor Frank Grillo played the villain, and it had an American stunt director and composer.
    Hollywood has been collaborating more with China’s growing movie business. Hollywood studios have worked with Chinese partners to add subplots that appeal to local audiences and meet the government’s strict regulations for movies like Iron Man 3 and The Great Wall. And Chinese filmmakers are leaning on Hollywood to help them make movies with broad international appeal.
    To aid its ailing box office last year, China’s government relaxed its quota on foreign films. It released 38 instead of 34 that year, the majority of which were from the US. The US and China—the biggest export market for Hollywood films—are due to re-negotiate the quota this year.
    The country also imposes blackout periods during busy times like the summer months, when only local films can be screened. That propped up domestic releases like Wolf Warrior 2 and The Founding of an Army.
    But the quotas and blackouts historically guaranteed that Chinese films, including co-productions with Hong Kong or American partners, accounted for 60% of the overall box office. And the government seems to be easing off that, too. So far in 2017, Chinese films made up about 52%, down from around 58% in 2016.

    Top-grossing 2017 films in China, through Nov. 19
    Wolf Warrior 2 $854 m
    The Fate of the Furious 393
    Never Say Die 332
    Kung Fu Yoga 255
    Journey West: The Demons Strike Back 240
    Transformers: The Last Knight 229
    Dangal 193
    Pirates Caribbean: Dead Men Tell No Tales 172
    Kong: Skull Island 168
    xXx: The Return of Xander Cage 164
    State regulators expect China’s box office to finish 2017 with 55 billion yuan, a 20% lift from last year. In the US, all eyes are on Star Wars: The Last Jedi to save 2017.
    A good overview on Wolf Warrior 2 and the effect it's had on on Chollywood's rise. We've discussed most of the Top Grossing films listed above, except Kong & Pirates I think.
    Gene Ching
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  9. #294
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    "All the sequels are boring people,"

    How Hollywood Film "Fatigue" Is Impacting China
    6:00 AM PST 12/11/2017 by Karen Chu


    Courtesy of EDKO

    "All the sequels are boring people," says one insider as Hong Kong readies for CineAsia, an annual industry confab taking place this year from Dec. 11-14.

    One of the earliest exhibitors to invest in movie theaters in China, the Broadway Cinema chain is now enjoying massive growth. Operated by Edko Films and headquartered in Hong Kong, Broadway is a premium brand that owns 47 cineplexes spread around first- and second-tier Chinese cities. On the eve of CineAsia, Edko CEO Tessa Lau talked to THR about why some Hollywood films don't work in China, the "irrational" actions of theater owners and the "hijacking" of the local exhibition industry.

    All of Broadway's multiplexes are located in China's first- and second-tier cities, which some say are now saturated. Is there any plan to develop into third- and fourth-tier cities or rural areas?

    We mostly follow wherever the property developers go since almost all cinemas in China are located in shopping malls. If the property developers build malls in the rural areas, then we will expand into those areas.

    Do you think rural audiences will embrace Hollywood releases?

    It depends on the type of movie. There seems to be a type of fatigue in recent years for Hollywood movies. It's because all the sequels are boring people. But there is actually little to fear for the "muscular" Hollywood films and animations. In 2015 and 2017, basically whenever a Fast and Furious installment was released, it soared to the top of the box-office chart. And in the past, in the 1980s, the Rambo films and the like did well around the world. So it showed that rural audiences, relatively unaccustomed to Western influences, enjoy the masculine Hollywood movies as much as the urban ones. But Hollywood dramas, comedies and animations that require some thinking, such as Inside Out, don't translate as well.

    What is the downside of the massive theater growth in China?

    Fierce competition between cinema operators, especially when some of them are irrational. There is the unique phenomenon of diminishing ticket prices in China — the price falls year after year, and you can't find that anywhere else in the world. It's because of the irrational operating model of some of the cinema operators — they cut the price to attract audiences. And the ticket subsidy by the e-commerce giants, which started in 2015, has deeply hurt the Chinese exhibition industry.

    The subsidies greatly boosted the overall box office and admissions in 2015, but cutting the subsidies impacted box office negatively last year.

    They don't need to subsidize movie tickets anymore because they already have the market share and have the data of the audience who downloaded their payment gateways. The e-commerce giants are asking the exhibitors and film producers to pay an exorbitant amount of money to advertise on their movie apps. This is what we call the "hijacking" of the cinema industry in China. Now, almost 80 percent of the audience in China buys movie tickets through these apps. Armed with the audience data, they can do whatever they want. They can promote a movie to hundreds of millions of people [simply] with the touch of a button.
    Interesting on rural development. I hadn't considered that so, but it's a major factor.
    Gene Ching
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    2017 in review

    Box-office hits suggest Jackie Chan is master of China zeitgeist
    Actor’s roles defeating foreigners nicely follow the narrative in an enormous market that welcomes Chan far more than Hong Kong does
    BY CLARENCE TSUI
    28 DEC 2017


    Jackie Chan in his newest release, Bleeding Steel, predicted to be another big earner at the Chinese box office.

    Looking back on 2017, the Hong Kong film industry’s premier torch-bearer was indisputably Kara Wai Ying-hung, who began the year by scoring her third best actress prize at the Hong Kong Film Awards, this time for her role in Happiness (2016), and ended the 12 months by winning a Golden Horse for her perfor*mance as a manipulative, well-connected Taiwanese matriarch in this year’s The Bold, the Corrupt and the Beautiful .

    In between, Wai not only salvaged uneven action thriller Mrs K with her agile turn as a homemaker confronting her criminal past, but also appeared in Luc Besson-produced fantasy blockbuster The Warriors Gate , decidedly trashy Death Ouija 2, romcom 77 Heartbreaks and suspense thriller The Mysteries Family.

    Only one other Hong Kong movie veteran has been able to match the 57-year-old in terms of productivity in 2017. Across the border, an actor six years her senior has graced cineplexes as a treasure-hunting archaeologist in India, a patriotic partisan in China and a grieving father avenging his daughter’s death in a terrorist attack in Britain. He has also lent his voice to Mandarin versions of The Lego Ninjago Movie and BBC documentary Earth: One Amazing Day.


    Kara Wai (left), Ke-Xi Wu, and Vicky Chen in The Bold, the Corrupt, and the Beautiful . But for Chan, Wai would be Hong Kong’s busiest film star this year.

    As you’re reading this, he has two films on release, playing a special agent in futuristic action-thriller Bleeding Steel , and an old shopkeeper in the Chinese adaptation of Japanese novel Miracles of the Namiya General Store .

    If not for a shuffle of China’s film release schedules, he would have scored a hat-trick of appearances during the lucrative New Year’s Day holiday with a cameo in Dante Lam Chiu-yin’s military blockbuster Operation Red Sea.

    Take a bow, Jackie Chan.

    The action-film icon has had an extremely busy 2017, not appearing in as many films in a single calendar year since 1985, when he enjoyed leading roles in five blockbusters that grossed a total of HK$120 million at the local box office – a figure which, even before being adjusted for inflation, remains astounding. Four of those films – My Lucky Stars; Twinkle, Twinkle Lucky Stars; Police Story; and Heart of Dragon – ended the year at the top of Hong Kong’s box office charts.


    Jackie Chan in Miracles of the Namiya General Store.

    Now perceived as passé and pompous in his home city, Chan – whose real given name, Kong-sang, translates as “born in Hong Kong” – appears in the news mostly for the wrong reasons. Once fawning over his every move and referring to him as Dai Gor (“big brother”), the local entertainment press now treats him with scorn: his frequent and invariably denigrating outbursts against Hong Kong have proven to be of much more interest than, say, his acceptance of an honorary Oscar.

    Not that he seems to care, given the way he has endeared himself to consumers in China. His films Railroad Tigers (2016), Kung Fu Yoga (2017) and The Foreigner (2017) have generated 3 billion yuan (US$460 million) in ticket sales this year, with Bleeding Steel and Miracles of the Namiya General Store expected to add another billion.

    If not for Jacky Wu Jing’s record-breaking Wolf Warrior 2 , Chan could easily have been China’s highest-grossing film star of 2017.


    Jackie Chan (right) in Railroad Tigers.

    Far from being an anomaly, China’s embrace of Chan speaks volumes about consumption and behavioural patterns, his success illustrating China’s demand for globetrotting, sensationalist entertainment.

    By any measure, Sino-Indian co-production Kung Fu Yoga is tacky and culturally tone deaf, with its comical rehashing of Indiana Jones tropes and warped caricatures of Indian culture. Released over the Lunar New Year holiday, the film eventually trumped Tsui Hark’s Journey to the West: Demons Strike Back at the Chinese box office, taking in nearly 1.75 billion yuan.

    While Kung Fu Yoga might have benefited from its extended run in cinemas, as well as its release as China was courting India for the “Belt and Road Initiative”, China’s plan to grow global trade, there were many complimentary comments online about its car chases, slapstick-fuelled choreography (Chan still kicks people in the crotch), and exotic settings (India, Dubai) and characters (gaudy snake charmers and photogenic Indian actors).


    Jackie Chan (top, left) in a scene from Kung Fu Yoga.

    Just as importantly, audiences appreciate how Chan’s heroes beat the living daylights out of foreign villains – a tendency, perhaps, that echoes China’s rise. He outwits Indian mercenaries in Kung Fu Yoga, dispatches inhuman Japanese soldiers in Railroad Tigers and runs rings around rogue paramilitary units and politicians in Northern Ireland in The Foreigner. In Bleeding Steel, Chan’s special agent is up against a cyborg played by Australian actor Callan Mulvey.

    It’s easy to s******, but all this would seem like déjà vu to those who were around during Chan’s heyday of the 1980s and 90s. True to the vogue of that time, his Hong Kong block*busters could be as jingoistic as his newer China-oriented output: Chan lectures morals to corrupt expat police officers in Project A (1983), for example. He conquers Spanish hearts and cuisine in Barcelona-set Wheels on Meals (1984), and defeats a cult in Yugoslavia in Armour of God (1986). Remember Rumble in the Bronx (1995), with all those over-the-top gangsters? Then there was that battle with crooked CIA operatives in Rotterdam in Who Am I? (1998).

    Ultimately, Chan’s films seem to say as much about the people making them as the people watching them – and the values with which they empathise. Maybe that’s where Chan’s relevance – for both industry researchers and sociologists – lies today: he is a barometer of who Chinese cinema-goers are, and of what they want.

    Roll on then, Jackie.
    Let's see now - we covered a lot of these. I'm only going to link the 2017 films because the old ones would be too much (and I luv Kara Hui aka Kara Wai Ying-hung)
    Bleeding Steel
    Mrs K
    The Warriors Gate
    Ninjago
    Earth: One Amazing Day
    Namiya
    Railroad Tigers
    Kung Fu Yoga
    The Foreigner
    Wolf Warrior 2

    And let's copy this to the Jackie Chan because his impact on the whole Chollywood Rising movement is something I've been on about for years here.
    Gene Ching
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  11. #296
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    simple math

    Quote Originally Posted by GeneChing View Post
    Part of the reason why it 'slowed dramatically last year' was because it was on such a ridiculous meteoric rise. Once the fervor cooled down, it appeared to slump, but really it just normalized. Regardless, the growth has continued. And someday, I'll have to change to title of my column.
    Told ya. Like that was hard to predict. You just gotta do the math...

    China Box Office Returns to Robust Growth in 2017, Hitting $8.6B
    8:35 AM PST 1/1/2018 by Patrick Brzeski


    Courtesy of Well Go USA

    China's all-time box-office champ, 'Wolf Warrior 2'

    Hollywood had a particularly strong year in the market, with international movies accounting for 46 percent of revenue, up from a 42 percent share in 2016.
    China's movie box office is back to a healthy state of expansion.

    Total ticket sales for 2017 grew by 22.3 percent to reach 55.9 billion yuan ($8.59 billion), according to data released Monday by Beijing's top media regulator.

    The solid performance puts China back on the path to overtaking North America as the largest theatrical film market in the world sometime in the next several years. The figure also stands in stark contrast to the downbeat 2017 performance of world's current No. 1 market: In North America, ticket revenue dipped 2.3 percent, according to comScore.

    China's 2017 tally also represents a robust comeback from the market's shock correction of 2016, when local box-office growth abruptly stalled at just 3.7 percent after expanding by an average of 35 percent for more than a decade.

    The 2017 results are particularly encouraging for Hollywood. International films — the bulk of them U.S.-made — claimed 46 percent of revenue in 2017, up from a 42 percent market share in 2016 and a 38.4 percent share in 2015.

    China's big growth rate partly came courtesy of accounting changes by Beijing's bean counters, however. At the start of the year, China's media regulator — the State Administration of Press, Publication, Radio, Film and Television — quietly began including the fees charged by online ticketing services when reporting box-office figures. Subtracting the online fees, China's 2017 ticket revenue grew by 13.45 percent, rather than 22.3 percent.

    Regulators are believed to have begun including the fees both to offset slowing growth and to more accurately reflect the way movies are consumed in the country. Although North American box-office data does not include such fees, over 80 percent of all movie tickets are bought online in China, compared to less than 25 percent in the U.S. The online fees may go towards the bottom line of ticketing platforms rather than film studios, but they still represent millions in consumer spending on moviegoing.

    A steady strengthening of the Chinese currency against the dollar during the year further tweaked the financial picture for the Hollywood studios. In U.S.-dollar terms, China's box office grew 30.5 percent from $6.58 billion in 2016 to $8.59 billion in 2017 (including ticketing fees).

    The five biggest U.S. titles in China this year were Universal's The Fate of the Furious ($392.8 million, the most ever by a non-Chinese film), Paramount's Transformers: The Last Knight ($228.8 million), Disney's Pirates of the Caribbean: Dead Men Tell No Tales ($172.3 million), Legendary's Kong: Skull Island ($168.2 million) and Disney's Coco ($177 million). Underscoring just how important the Chinese film market has become to the U.S. majors, all of those pics, except Coco, earned more in China than they did in North America (Coco earned $178 million in North America, but it remains on release in China, which will become the film's top market sometime in early 2018).

    The year's biggest story in the Chinese industry, of course, was the heroic performance of patriotic action blockbuster Wolf Warrior 2, which collected a record $870 million — a height previously reached only by Hollywood's biggest hits. Other major earners were Never Say Die ($333.9 million, the most ever by a comedy in one market), Jackie Chan's Kung Fu Yoga ($254.5 million) and Tsui Hark's Journey to the West: The Demons Strike Back ($239.5 million).

    The Chinese marketplace also welcomed new diversity in 2017, as several non-Hollywood titles put up big numbers. Indian import Dangal, starring Amir Khan as a father who coaches his two daughters to become champion wrestlers, earned an astonishing $193.1 million. Thai high school thriller Bad Genius, meanwhile, earned $41.1 million, and Spanish crime film Contratiempo brought in $26 million (more than five times what it grossed in Spain).

    The staggering growth of China's theatrical film sector over recent years — from $1.47 billion in 2010 to $8.6 billion in 2017 — has been fueled by breakneck cinema construction across the nation. Midway through the year, China overtook the U.S. to become the most-screened country in the world. Over 26 new movie screens, on average, were erected in China every day of 2017. The country now has 50,776 movie screens.
    Gene Ching
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  12. #297
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    10% of Chinese theaters to show propaganda

    We'd do this here but we already have sitonmyfacebook, where we propaganize ourselves. We don't need no government regulated propaganda.

    China to Select 5,000 Cinemas to Show Propaganda Films
    2:43 AM PST 2/13/2018 by Associated Press


    Courtesy of Media Asia
    Chinese propaganda film 'The Founding of an Army'

    In a throwback to language used during the era of Mao Zedong, the country's film regulator said the policy is intended to promote propaganda films to create a "people's theater front."

    China plans to select 5,000 movie theaters across the country to screen propaganda films and will look to boost their box office with group sales, discounted tickets and other financial backing.

    The number of theaters accounts for roughly 10 percent of China's total, with quotas issued for each major city, province and autonomous region.

    A notice from the nation's film regulator said the policy is intended to promote specific movies at special times to create a "people's theater front," a throwback to language used during the era of Mao Zedong.

    In keeping with the ruling Communist Party's latest initiatives, the policy intends to "guide thought and educate the people," said the statement, which was stamped Jan. 30. Copies of it were posted Tuesday to Chinese websites that cover the entertainment industry.

    China, the world's second-biggest film market, saw movie ticket sales rise 13.5 percent last year to over $8.6 billion. Chinese-made movies accounted for 54 percent of ticket sales, with baldly nationalistic action thriller Wolf Warrior 2 topping the box office.

    The ruling Communist Party is anxious to promote more productions with patriotic themes and exercises broad control over scripts and shooting permits.

    It also routinely manipulates ticket sales and movie release dates, including limiting the number of foreign films that can be shown and banning them entirely for certain periods.

    That helps pump up sales for domestic productions, although patriotic themes don't always win out. Recent successes have included films glorifying materialism and complex interpersonal relationships, such as the Tiny Times series.

    As part of party leader and President Xi Jinping's ideological drive, the party has also sought to crack down on internet content deemed frivolous or immoral.

    That includes online games such as the Japanese hit Travel Frog, although the denouncements appear to have done little to dampen public enthusiasm for them, and the authorities are eager to keep the internet open as a conduit for business.

    Thread: Chollywood rising
    Thread: Wolf Warrior 2
    Gene Ching
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    HK vs. PRC

    No distinction between Chinese and Hong Kong films anymore, says actor Jackie Chan
    8 March 2018 09:00 Kris Cheng 2 min read

    Actor Jackie Chan has said there is no distinction between Chinese and Hong Kong films anymore.

    Chan, a member of the Chinese People’s Political Consultative Conference, was attending a meeting of the conference’s arts group. He made his remarks in Beijing on Monday when asked about films co-produced between Hong Kong and the mainland.

    “Now, we don’t say whether a film is a Hong Kong film or a Chinese film – Hong Kong films are Chinese films as well. It’s only about whether you are making local films – like in Shenyang you make Shenyang films, in Shandong you make Shandong films, many of them can’t get out of Shandong or Chaozhou,” he said.


    Jackie Chan. Photo: i-Cable screenshot.

    “There is only one kind of film called Chinese film, like Hong Kong Chinese film. There is local film, and Chinese film. Sometimes when we make Hong Kong films, they are only made for Hong Kong people, but Hong Kong people can also make Operation Red Sea for all Chinese,” he said, referring to the recent movie which earned over HK$3.7 billion at the box office.

    “If you make a film about Wong Tai Sin, it may only be shown in Hong Kong – and will not have a good box office results in China, as people do not understand. But if you make something with a bigger perspective, like Operation Red Sea or Wolf Warrior, then you will go global.”

    He said he will ask for the cancellation of quota limitations for Hong Kong actors and support staff in co-productions.

    But Hong Kong director Philip Yung, whose film Port of Call won seven awards at the Hong Kong Film Award last year, disagreed with Chan.

    “You can say we did not make films as good as the past, but you can’t really say we don’t have Hong Kong films anymore, can you?” he wrote on his Facebook page.

    “Let us work harder then – if Hong Kong films are made well, the whole of Greater China will be honoured – is this not the case?” he added.

    He posted several posters of renowned old Hong Kong films and said: “Look at these films – our films are always so dignified and colourful…”
    Hong Kong film was at its peak during the golden age of Kung Fu flicks in the 70s and early 80s and then again in the late 90s as the political tensions mounted from the British handover of HK back to PRC. Now that PRC is such a film giant (thus this very thread) I get what Jackie is saying, because there are always local films. He just put it in a blunt manner that surely offends HK filmmakers who view Jackie as a sell out. But you gotta sell first, before you can sell out, and Jackie is a global star, arguably the only one outside of Bruce Lee, and maybe Jet and Donnie too.
    Gene Ching
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    Tariff dodging

    Film, TV Escape Penalty as China Retaliates Against Trump’s Trade Tariffs
    By Patrick Frater
    Asia Bureau Chief


    CREDIT: AP

    America’s film and TV industries dodged a bullet Wednesday as China announced tariffs of about $50 billion against American goods. The measures were in retaliation against new U.S. tariffs on Chinese imports unveiled a day earlier.

    China’s Commerce Ministry said it would increase import duties by 25% on 106 types of goods including soybeans, cars and light aircraft. The ministry said that it would announce the date for implementation separately, and that it would depend on the date that President Trump’s additional duties are imposed on Chinese exports to the U.S.

    The maneuvers signal a significant lurch into a possible trade war between the world’s two largest economies. Trump has said he welcomes a trade war, contending that the U.S. loses out as a result of the Chinese trade surplus in physical goods. The U.S. has a surplus over China in service areas such as finance, software, and film and TV content.

    The two countries are currently renegotiating a 6-year old agreement covering the film industry. They are believed to be close to a deal that would loosen China’s film import quotas, increase revenue-sharing terms for Hollywood rights owners, and likely increase the number of permitted distributors.

    China’s retaliatory measures to date seem to have avoided the most headline-grabbing measures, such as penalizing the large passenger jets produced by Boeing or hitting out at Hollywood. China could be saving these for later if the trade dispute escalates.

    For now, Beijing’s response seems targeted at Trump-voting constituencies. Soybeans are a major U.S. export to China and are predominantly sourced from red states on the U.S. political map. Other goods affected include beef, corn and orange juice.

    The Chinese commerce ministry said that Tuesday’s U.S. moves were “an evident violation of the rules of the World Trade Organization.” It added that they threatened China’s economic interests and security.

    Asian stock markets wobbled and the U.S. dollar weakened Wednesday. Hong Kong’s Hang Seng Index fell 2.2% to 29,518, and the Dow Jones Shenzhen Index fell 1.1% to 502.05. Before the opening bell at 7.30 a.m. in New York, stock futures pointed to a 460-point drop in the Dow Jones Industrial Average index.
    FYI, China tariffs may have a profound effect on martial arts gear. Almost all martial arts equipment from any style is manufactured through China and steel might be affected. We know all the manufacturers and suppliers for our competition vendors. It's not that big a pool. This may cause price hikes across the board.
    Gene Ching
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    a two-fer today

    China, Japan to Sign Landmark Co-Production Treaty in May
    3:26 AM PDT 4/4/2018 by Patrick Brzeski


    New Classics Media/Kadokawa Corporation/Emperor Motion Pictures/Shengkai Film
    'Legend of the Demon Cat'

    The agreement is another sign that film-industry collaboration between the two Asian economic giants is gradually on the rise.
    China and Japan, Asia's two largest economies, are set to sign a bilateral film co-production treaty when Chinese Premier Li Keqiang visits Tokyo in May, Japanese government sources told the Asahi Shinbun newspaper on Wednesday.

    The policy is intended to deepen ties between the two countries through improved cultural cooperation. The signing will mark the 40th anniversary of the Japan-China Treaty of Peace and Friendship, which formally normalized relations between the two nations some three decades after World War II. It will be Japan's first international film cooperation pact.

    Given the scale of the Chinese and Japanese film markets — the world's second- and third-largest box offices, respectively, trailing only North America — the new treaty could have far-reaching repercussions for both nations' film industries, as well as the regional movie sector at large.

    Co-production treaties typically entail mutual access to national incentives and subsidies, and greater market access on each side. Such state-level partnerships also ease the permissions process for receiving filming permits, work visas and moving filmmaking equipment across borders. In China's case, co-production status also entails exception from Beijing's strict quota on film imports, which could be a considerable boon for Japanese film producers.

    Often pitted as regional geopolitical rivals — owing to territorial disputes and the painful legacies of WWII — Japan and China have experienced a relative uptick in cultural relations in recent years, with local filmmaking getting increased exposure on one another's screens. Japanese animated film Your Name completed a history-making run in the Middle Kingdom in 2017, pulling in $83.7 million. Jackie Chan's Skiptrace and Chinese mega-blockbuster Wolf Warrior II, meanwhile, received theatrical releases in Japan last year.

    During last year's Tokyo International Film Festival, an art-house film exchange program between Japan and China was initiated. Soon after, 10 Japanese titles, including Naomi Kawase’s Radiance and Daihachi Yoshida’s A Beautiful Star, began screening in succession in Chinese cities. Japan began reciprocating in March with the limited release of 10 Chinese films in Tokyo, Osaka and Nagoya.

    Last year also saw the release of the most high-profile Japan-China co-production to date, Legend of the Demon Cat, a fantasy mystery film directed by China's Chen Kaige and scripted by Japanese writer Yoneyama Mineo.

    Japan has invited Chinese Premier Li for a formal state visit next month to coincide with a trilateral summit with South Korea. Many have interpreted the overture as a sign of Tokyo's increased push to improve ties with Beijing.
    I still want to see Legend of the Demon Cat.
    Gene Ching
    Publisher www.KungFuMagazine.com
    Author of Shaolin Trips
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