Chinese film in Globalization

Crouching Tiger, Hidden Dragon is a Chinese wuxia film, which was first released in 2000. It is also could be treated as an appropriate example to illustrate how the so-called Chineseness in western culture were designed because of the influence of the globalization in film industries.

This film could be described as Chinese style martial art film because it contained the following elements, such as period costumes in Qing Dynasty, sword fighting scenes, traditional Chinese markable settings, and the Mandarin spoken by all of the casts within the film.

However, these Chinese elements on the surface could not be used to illustrate the success this film gained in the international markets. Apart from the international cooperation during the process of production and distribution, for instance, it was financed internationally, distributed by Sony Pictures, especially the content of the text itself was also designed in order to cater the tastes of the global market.

According to Wang and Yeh (2005), “implies that modern cinema should not, and perhaps cannot, be restricted to national and aesthetic boundaries, because filmmaking appropriates “anything that is fun” and anything that the producers are able to create”. For the western audience, the film actually completed a deculturation, through which the filmmaker made the film acceptable to the west and challenged the stereotype of Chinese movies, and thereby deconstructed the Chineseness within the film. In Crouching Tiger, Hidden Dragon, the conventional values of Chinese society were partially removed, especially the social hierarchy. For example, it gave the female character Jen power to liberate herself from the feudal ethical code of ancient China through permitted her to pursue true love and personal interests of learning martial art,  rather than being banded with domestic life and passively received the marriage determined by their parents.

Therefore, the film Crouching Tiger, Hidden Dragon as an iconic Chinese work that successfully entered the global market actually suggested the necessity of tactically cultural fusion hybridization with the culture of international target markets through which to break the national aesthetic boundaries.

 

 

 

Reference

Wang, G., & Yeh, E. Y. Y. (2005). Globalization and Hybridization in Cultural Production: A Tale of Two Films. Globalization.

GE ZHAN

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