An increasing development of digital technology has changed the communication circumstance of individuals which may result in a compression of spatial and temporal distances, bringing the separate information world to a global village. However, the renovation of information society let the producer and promoter of film possess a globalization perspective. For example, spectators may witness a huge number of western elements in Jacky Chen’s film, where we can observe an accusation of American imperialist aggression and an admiration of western countries with powerful economic forces in <Project A>.The western civilization is always used to create an internationalized context in his film.Additionally, in <Rush Hour>, his American partner expresses a sense of personal heroism, and highlight the positive character and perspective of Americans which may catch on Hollywood’s taste.The majority of Jacky Chen’s films were produced out of China and acted by people with different races.His global perspective brings him a large quantity of money and a lifetime achievement Oscar award.
On the other hand, the emergence of network brings a wider renewed audience circumstance, and result in a two-way interaction, creating a feedback of spectators and films. So as Gene Youngblood said, “the context we lived, is no longer monodirectional, it’s characterized by an uninterrupted circulation of information in all direction.”(Casetti,F,2015,103). Thus, the thought of establishing an effective conversation with audiences should be emphasized. Star Wars Uncut is a typical successful case of the two-way interaction of film, which is a crazy fan mashup remake of the original Star Wars movies. The continuous intervention of audiences made them anxious to move from spectatorship to production, which can be called a successful promotion strategy. Therefore, the awareness of globalization and interaction in production and marketing is an important issue for film producers.
Francesco Cassetti (2015) “Expansion”: The Lumière Galaxy: 7 Key Words for the Cinema to Come, New York: Columbia University Press,103.