Constance Wu, who plays the mother in “Fresh Off the Boat” (2015- ), called out Hollywood whitewashing and did it in 453 words – clearly meaning for it to be a guest post on this blog 😉 :
“On The Great Wall: We have to stop perpetuating the racist myth that a only white man can save the world. It’s not based on actual fact. Our heroes don’t look like Matt Damon. They look like Malala. Ghandi. Mandela. Your big sister when she stood up for you to those bullies that one time. Money is the lamest excuse in the history of being human. So is blaming the Chinese investors. (POC’s choices can be based on unconscious bias, too.) Remember it’s not about blaming individuals, which will only lead to soothing their lame “b-but I had good intentions! but…money!” micro-aggressive excuses. Rather, it’s about pointing out the repeatedly implied racist notion that white people are superior to POC and that POC need salvation from our own color via white strength. When you consistently make movies like this, you ARE saying that. YOU ARE. Yes, YOU ARE. YES YOU ARE. Yes dude, you fucking ARE. Whether you intend to or not. We don’t need salvation. We like our color and our culture and our own strengths and our own stories. (If we don’t, we should.) We don’t need you to save us from anything. And we’re rrrreally starting to get sick of you telling us, explicitly or implicitly, that we do. Think only a huge movie star can sell a movie? That that has NEVER been a total guarantee. Why not TRY to be better? If white actors are forgiven for having a box office failure once in a while, why can’t a POC sometimes have one? And how COOL would it be if you were the movie that took the “risk” to make a POC as your hero, and you sold the shit out of it?! The whole community would be celebrating!! If nothing else, you’d get some mad respect (which is WAY more valuable than money.) So MAKE that choice. I know that overcoming your own bias and doing something differently takes balls… Well don’t you WANT balls? Look. I know there are lotsa POC who honestly don’t care. Who think I’M being crazy. Well excuse me for caring about the images that little girls see, and what that implies to them about their limitations or possibilities. If you know a kid, you should care too. Because we WERE those kids. Why do you think it was so nice to see a nerdy white kid have a girl fall in love with him? Because you WERE that nerdy white kid who felt unloved. And seeing pictures of it in Hollywood’s stories made it feel possible. That’s why it moved you, and that’s why it was a great story Hollywood is supposed to be about making great stories. So make them.”
The trailer for”The Great Wall” (2017):
Black people in medieval Europe? Unrealistic! White people in medieval China? The star of the show!
See also:
522
Yawn…another white savior movie..nothing to see here folks. -_-
LikeLiked by 4 people
Yawn, another misdirected anti-white Hollywood rant. This white savior movie was the brainchild of Production companies: Legendary Entertainment, China Film Group Corporation, Atlas Entertainment.
Legendary is owned by “Wanda Group (simplified Chinese: 万达集团; traditional Chinese: 萬達集團; pinyin: Wàndá Jítuán), or Dalian Wanda (Chinese: 大连万达), is a Chinese multinational conglomerate corporation and the world’s biggest private property developer and owner[5] and the world’s largest cinema chain operator, owning Wanda Cinemas, and the Hoyts Group.”
China Film Group Corporation (Chinese: 中国电影集团公司; pinyin: Zhōngguó diànyǐng jítuán gōngsī), abbreviated as CFGC, is the largest[1] and most influential state-owned film enterprise in China. According to Forbes it is a state monopoly that all imported films have to work with. It also runs theaters and finances, produces, and distributes films.[2] In 2014, the company was the largest film distributor in China, with 32.8% of the market.
Only Atlas Entertainment is white: “Atlas Entertainment is an American film financing and producing company, started by Charles Roven and Dawn Steel in 1995.”
I suspect they are the junior partners. This is a money making scheme. Ms. Wu should have sent her complaint to the people in Beijing.
LikeLike
The thing I always wonder is why we complain that Hollywood does this. I have done it before, plenty of times. But the fact is Hollywood knows it whitewashes films and has no intention of stopping. Why should they? What incentive do they have to stop when they still make money from it?
Non-whites who get mad at lack of representation need a wake up call. You can’t ask whites to give you anything: you have to create it yourselves. Ourselves rather. I’m far past this type of outcry. We don’t need white folks to “represent” us. We can do that ourselves. I firmly believe so anyway.
I love how several news reports have written about this. Calling it “allegedly whitewashing” as if it’s something that is just the perspective of a few vocal individuals. That tells you that they do NOT care about what you think. Brave rant, but it falls on deaf ears.
LikeLiked by 3 people
Grojo,
Your points are well noted.
The major investor and producer in this production (not to mention the director and a large proportion of the cast) are of Mainland Chinese origin and represent PRC interests. From the viewpoint of a Hollywood producer, it offers at least 3 advantages.
1. Money/Financing
2. Bypassing the PRC’s draconian restriction on “foreign” films to be screen in China and easier access to the 1.4 billion people market.
3. A slew of PRC industry personnel to make it instantly recognizable to Chinese audiences.
From the Chinese investor viewpoint, they can obtain
1. A Hollywood-style movie, which attracts more Chinese viewers than most domestic productions
2. Recognizable Hollywood superstars which can attract Chinese audiences
This makes it different from the typical “white Saviour” film (so I do not concur with Sondis that it is just “another white savior movie”). These kind of US-China joint ventures are another kind of animal. In this case, the desire of the Chinese partners to have white American male heroes is to make it look more like a Hollywood production (rather than a Chinese production) – a white saviour movie with “Chinese characteristics” as it were.
How do you make a movie to capture the attraction of a traditional Hollywood theme and satisfy Beijing at the same time? Exactly movies like these. Going forward, Hollywood movies about Asia may be just these very kind. I expect that some future movie (The Voyages of Zheng He (2018)) is going to have Zheng He played by a white Hollywood male actor, and they might be able to get away with it as Zheng He is believed to be a muslim non-Han.
I don’t think Chinese in China have a concept of Asian American heroes, or how a Hollywood movie would have an Asian hero. It would be easier to understand how a Chinese hero could be played by a white person (as long it is a Hollywood production.) Of course, they can learn. It is still a flimsy excuse.
It is obvious that neither Hollywood nor Beijing care a damn about how Asian Americans are represented in megablockbusters.
Having said that, I do not think it is wrong for Constance Wu to voice her concern with Hollywood. Hollywood is still one of the partners, a willing partner and they still should do the “right” thing. Someone needs to say it and she is just as good as any.
What is really needed for Asian America (and for the USA as a whole actually) is to tell the story of America itself, and about all the POC heroes that belong to THAT narrative.
For films with Asian American heroes/protagonists, a few films come to mind, eg,
Wayne Wang’s films (although he has done others such as Maid in Manhattan(2002)):
Chan Is Missing (1982)
Dim Sum: A Little Bit of Heart (1985)
Eat a Bowl of Tea (1989)
The Joy Luck Club (1993)
Peter Wang’s A Great Wall (1986)
Aki Aleong’s “I am Somebody: No Chance in Hell” (Originally titled “Chin@man’s Chance”) (2008)
(https://youtu.be/MdSVkw73Xr8)
The Debut (2001)
Robert A. Nakamura’s Hito Hata: Raise the Banner (1980) starring Mako.
The few movies that deal with Asian American protagonists are few and far between, and they do not attract that much attention, even from POC. They certainly do not attract the attention of Hollywood producers.
Maybe it is the responsibility Asian Americans to teach Asians in Asia about the Asian American experience. I really think some of those themes may actually be of interest to them.
But, what needs to be stopped is where Hollywood takes an Asian American protagonist and replaces it with a white one (or worse, a white actor playing an Asian), or where all the Asian characters are reduced to cardboard minstrelish stereoptypes. This is where Constance Wu (and her ilk) should place her focus.
LikeLiked by 2 people
“It is obvious that neither Hollywood nor Beijing care a damn about how Asian Americans are represented in megablockbusters.”
Correct. Hollywood cares about the money and Beijing cares about projecting a kinder, gentler image to the US public as part of the whole “Peaceful Rise” thing.
“Having said that, I do not think it is wrong for Constance Wu to voice her concern with Hollywood. Hollywood is still one of the partners, a willing partner and they still should do the “right” thing. Someone needs to say it and she is just as good as any.”
You are entitled to your opinion, and I to mine. I said nothing about the right or wrong of her plea, I pointed out that it was misdirected. Given the aims of the producers, the lack of representation of Asian Americans doesn’t interest them. How will telling the Asian American story contribute to the bottom line or “Peaceful Rise” propaganda?
What people on this blog fail to take into account, is the ideological dimension of Hollywood. It wasn’t a fluke that communists were hounded out of there in the 1950s.
LikeLiked by 2 people
But the alternative is to just not make the movie at all. You can’t market this with an unknown actor, nobody will go see it. And frankly, I love movies and I’m a fan of Matt Damon and this one looks fantastic so I’ll definitely be seeing it.
Look, when you go on vacation to China, do you take pictures of you and your friends? Why? You don’t look like the people who live there, why don’t you take pictures of them? It’s a matter of being able to identify with the people who are introducing you to new places. Nothing wrong with that! As long as the people and place in question are treated with respect, not as some exotic backward joint that needs to be “civilized” or something patronizing like that.
Another movie that drew similar complaints: “The Last Samurai” with Tom Cruise. Phenomenal film, and Cruise’s character is NOT a savior, he’s simply a guy in a foreign land and we are introduced to a place we know nothing about through him. What’s wrong with that? The alternative is to NOT make the movie at all, and that is unacceptable. It’s a great film.
NOW, if Cruise and Damon showed up and showed the natives that they’re stupid or something and showed them the “right way” then that’s different, I’d agree then. But no, in the Samurai movie it is the natives who show him the right way. We simply experience it with him and we identify with him. It’s like if the plot was of a Samurai who was hired by the confederacy in the American civil war to help defeat the union, and was captured by the union, and learned of their ways and grew to love them, and went on to participate in their struggle with the confederacy. That’s not patronizing, it’s not racist, it’s just a damn good plot!
Chill and enjoy the movie!
LikeLike
I think she still needs to direct her plea (re: the portrayal of Asians in Hollywood films, as there is a 100 year history in this) to Hollywood itself more so than to the Mainland Chinese producers of the film.
Of course, it is pretty much beside the point in this case (as they do not care — the Chinese investor side is the one they are trying to please), but it must be done, if not merely for the education of the American populace. The message of Hollywood as a whitewasher should not just be tossed in the wind because it is pointless in THIS particular case. It is not pointless in general.
Regarding the education of Asians in Asia about the plight of Asian Americans in America or wherever they go, that is a much more daunting task and one that they probably care even less about than white Hollywood producers do. Still, that is not a reason to view it as pointless. It still needs to be done too. But it is secondary to the education of Hollywood.
So, I disagree that her plea was misdirected to Hollywood.
I found the movie “Shanghai Calling”(2012) entertaining as it is a message to both Americans and Chinese and is written and produced by Chinese Americans, and possibly also because visiting factories in the Greater Shanghai area is something that I actually do, as well as attend events organized by the American Chamber of Commerce. I can relate to it. I have yet to enjoy any of those Hollywood blockbusters geared for the Chinese audience, nor any of those Hollywood / Chinese joint ventures. YUCK!
But, I guess I can enjoy what I want, right – they don’t need to care about it.
not much.
It is still something that needs to be done, esp. within the USA. Just like fighting the battle of portraying blacks as criminals and thugs needs to be done.
Glad you recognize that “peaceful rise” stuff as “propaganda”.
LikeLike
@Baron Harkonnen
That was very much a White Saviour movie, not too much unlike “Dances with Wolves”.
For pete’s sake, first Cruise’s character feels guilt about the atrocities he committed against Native Americans, and then he kills off the Japanese men and takes their wives!
Finally, he is the one who educates the Japanese about preserving their culture!
It reeks of White Paternalism and the White Saviour trope.
Please check Abagond’s links at the bottom of the post.
LikeLiked by 1 person
“Glad you recognize that “peaceful rise” stuff as “propaganda”.”
Thanks. Just so we’re perfectly clear, I wasn’t singling out the Chinese only as propaganda purveyors. Hollywood is even better at it then they are.
If you want to know what US policy is, just head to your local movie house or your tv.
The Cold War- My son John, The FBI, Spy shows on tv.
Vietnam war- Green berets, Star Trek, etc.
War on Drugs- Scarface, Miami Vice.
Doubts about the professionalism of law enforcement- CSI.
LikeLiked by 1 person
Baron Harkonnen, Nobody cares if you enjoyed these movies, why do you feel entitled to tell others how they should feel about them? They wouldn’t have been made? So what?
LikeLike
@grojo,
Agree with you that Hollywood is a conduit for US social and political propaganda. In a prior blog post, I commented about America’s fascination with Alien Invasion tropes and their need to save mankind from catastrophes.
So, should we look at “The Great Wall” starring Matt Damon as some indication of US/China relations?
LikeLike
Question to all – Why do you even care? It could be Matt Damon, Jet Li (李连杰) or even Will Smith playing this part, They are all part of the Hollywood corporation – This film like all others made in Hollywood, unless its an indie, has no bearing on reality. Hollywood/reality = oxymoron. Anyone who is part of the Hollywood corporation regardless of ethnicity or shade are paid and given status way beyond their worth. They are all, including Ms Wu, JUST ACTORS. It is just a job. They need to all stop thinking they have self import above what they do. It’s a joke. The only reality is no one should ever watch a single movie that comes out of that machine because it’s all mind bending shit! It lies to us and it lies to our children. It is not life. From my perspective over here it’s more about American saviour than “White saviour”
@ Baron Harkonnen.
I suggest to you that you don’t ever go to the movies again. You’re clearly smitten with this rubbish and probably need a good detox. Watching “The last Samurai” will teach you nothing about China, For one thing it is not set in today’s time, but mostly it is, like all Hollywood movies, a lie. Also if you really think all best selling films star only famous people you are very naive.
I would like to suggest to you all a fantastic film. It’s funny, human, moving,inclusive and fairly realistic (In a filmic way!). It addresses prejudices and some real life issues as faced by British people and immigrants today I doubt any of you will know the actors as it is British but in my prejudiced opinion we do make the best films so I think if you like films you will enjoy it! Also it’s all filmed in the area of London where I live (In my hood, LOL!) X
It’s called “Dough” (In UK dough is slang for money)
http://vidzi.tv/m1asrc50kqsm.html
@ abagond. If this isn’t allowed please remove my comment.
LikeLike
I’m thinking the only reason why this is the most expensive film production in the history of Eastern Cinema might be the fact that Damon is being paid $100 million plus. I get that they want the movie to sell in the West but that really does say something about the plight of ‘white’ idolization across the globe. Nothing racist but a fact.
LikeLiked by 1 person
@jefe
I think that is a very uncharitable interpretation of the film. He does not save them, he merely observes, learns, comes to immensely respect them and participates in their struggle. He does not upstage the senior warriors, nor does he take their wives. His character is a vehicle for the viewer to relate to what he is seeing and learning. It is all in how he narrates what he is writing in his journal. I reckon that when you say he “takes their women” you are referring to the tender moment he has with the woman tending to him as he recovers from his injuries and rides out his delirium tremens. He does not seduce her anything like that.
LikeLike
@grojo:
This movie sounds like a communist plot to take over Hollywood. Where’s joe McCarthy when you need him?
LikeLiked by 2 people
@ Baron Harkonnen
“His character is a vehicle for the viewer to relate to what he is seeing and learning.”
You’re assuming that all the viewers share commonalities with you and Tom Cruise. You’re assuming that all white male western viewers require a main character just like themselves or else they can’t relate to the storyline or enjoy the film. You’re assuming that westerners who are not male and/or who are not white somehow should magically be able to relate to Tom Cruise’s character in the same way you do despite their differences.
In fact, it says a lot about a viewer’s dearth of imagination and lack of empathy if he cannot enjoy or understand a film in which there isn’t a main character exactly like himself.
“Crouching Tiger, Hidden Dragon” was a joint U.S.-Chinese project filmed in China with not a single white actor and not one word of English. It was a huge success not just in the U.S. but internationally. Based on your reasoning, it should have been a dismal failure everywhere except China.
LikeLiked by 1 person
@Solitaire
“Crouching Tiger, Hidden Dragon”—Exactly!! It is one of my favorite films to this very day.
LikeLiked by 1 person
@ Zoe Jordan
“Watching “The last Samurai” will teach you nothing about China”
I should think not, considering it’s about Japan. Big clue there in the movie’s title.
LikeLike
@ Zoe Jordan
“In UK dough is slang for money”
No kidding. The first recorded use is in the U.S.
http://peopleof.oureverydaylife.com/did-word-dough-come-mean-money-8629.html
“Question to all – Why do you even care?”
Have you read any of Abagond’s posts on Hollywood whitewashing, blackface, yellowface, etc.? We care because we’re tired of seeing non-white actors passed over for non-white roles that either get turned into white characters or utilize white actors wearing makeup to look like a race they aren’t. It’s called racism. That’s why we care.
I’m the first to admit we have our problems, but that doesn’t mean we like it when Brits talk down to us with that superior patronizing attitude.
LikeLike
Wow, what a coincidence! One of the leading actors in “Dough” is the very same Jonathan Pryce who was the center of the yellowface controversy over “Miss Saigon.”
LikeLike
Solitaire,
Thank you for zeroing on my exact issue with that response. I do not like the genre of films that require a white male hero (or in some others, a female) to navigate some understanding about non-Anglo or non-western history or culture.
LikeLike
@ Solitaire
You are quite right about the Last Samurai. Very stupid mistake!
I really do understand the issue with white actors playing the parts of other ethnicity’s and changing history to fit the part of a white actor, it’s disgusting and I don’t mean to play it down.
It’s just that from my perspective the Hollywood film industry is so corrupt that nothing good could come our of there. Yes, of course you’re right specific issues need to be addressed or they will never change. I certainly wasn’t being patronizing, I’m afraid I’m not very articulate and educated like most of you are. I was just trying to say that Hollywood is a big fat lie from top to bottom so it’s not surprising they use white actors in this way.Perhaps rather than asking ‘Why do you care?’ I should have asked ‘Are you surprised?’
Also didn’t know ‘dough’ was an Americanism I’m very interested to learn that but you shouldn’t find my lack of knowledge offensive,
Apologies for offending anyone as that wasn’t my intention.
LikeLiked by 2 people
@Solitaire
I noticed that. Jonathan Pryce was very well recognized in New York. I was living in New York when “Miss Saigon” came to Broadway and in fact, it was while I was performing with a Filipino drama ensemble. Some of the members protested against the casting of Pryce as the Engineer.
I understand that there was no protest about the Yellowface in the UK (for all the major Asian MALE roles), but it came to light only in New York.
Yellowface has been with us for 150 years and is strong today as ever. It seems destined never to fall out of favour unlike Blackface.
I went to a comedy club during a visit to Melbourne, Australia. Lo and behold, one of the main skits featured two White women doing yellowface of Asian men characters, employing all the minstrelish stereotypes. I noticed it was an all white audience except for my friend with me. Really, how is that any different from whites doing blackface 100 years ago in minstrel shows to white audiences? I want to know why Yellowface (of the minstrel variety) is still acceptable in the 21st century when no one dare do blackface at a public venue.
LikeLike
“@grojo:
This movie sounds like a communist plot to take over Hollywood. Where’s joe McCarthy when you need him?”
I think you’ve got it backward, it’s Hollywood trying to ingratiate itself to the Chinese, the biggest movie market in the world by 2020. Hollywood will be eclipsed by China. Hollywood wants a piece of that.
“At four times the size of the U.S., China’s population makes it the golden goose of the film industry. “China’s audience will one day be bigger than the U.S.,” predicts Qiaowei Shen, Wharton marketing professor. Moreover, the average Chinese citizen goes to the movies less than once a year while the average American goes almost four times a year. “There’s huge potential [for growth] if the average Chinese person [just] goes to the movies two times a year, then box office receipts will increase by two times,” she notes…But China looks beyond financial reasons in inking deals. “There’s a concerted effort in China to move into the global entertainment and media industry to build China’s soft power,” adds Zhang. The cultural sector is one of the pillars of China’s Five-Year Plan, meaning the government makes an effort to support Chinese investment in entertainment. “Aside from being good business, it is a way to protect China’s influence in the world.””
http://knowledge.wharton.upenn.edu/article/lights-china-action-how-china-is-getting-into-the-global-entertainment-business/
LikeLiked by 3 people
Yep.
https://www.thestar.com/news/insight/2009/12/12/how_china_is_using_art_and_artists_to_sell_itself_to_the_world.html
LikeLiked by 1 person
@Zoe Jordan
Don’t be hard on yourself. We all make mistakes and we all learn here.
“I want to know why Yellowface (of the minstrel variety) is still acceptable in the 21st century when no one dare do blackface at a public venue.”—My take on is that there is little protest for it. When Yellowface is exposed, there are groups that come out strong to oppose it, but a strong united front is needed.
LikeLike
I think I saw something about this on another social media site i think it stars Matt Damon i immediately thought this is some of that white savior films. It reminds me of Tom Cruise in Samurai.
LikeLike
@Zoe Jordan: We are all in different stages of learning.
LikeLiked by 1 person
@ Zoe Jordan,
I apologize for coming down rather hard on you. I think my wording was more harsh than my actual intent.
However, it does touch a nerve for me because there is a general stereotype in your part of the world, which I have run up against many times, that Americans are slack-jawed uncultured hicks addicted to mindless Hollywood entertainment.
“I’m afraid I’m not very articulate and educated like most of you are.”
That’s exactly the opposite impression I got from your previous statement: “I doubt any of you will know the actors as it is British.” It came across, at least to me, as condescending. I’m sure there are British actors I don’t know, but there is so much cultural exchange between Britain and the U.S. that of course we are familiar with many of your top actors. I first saw Jonathan Pryce back in the 1980s in the movie “Brazil,” and I’ve never forgotten his name since the early ’90s controversy here over his use of yellowface in “Miss Saigon.” He’s been in some big Hollywood hits, too, like the “Pirates of the Caribbean” movies and just recently “Game of Thrones.” And of course Pauline Collins became known over here even earlier due to “Upstairs, Downstairs.”
“It’s just that from my perspective the Hollywood film industry is so corrupt that nothing good could come our of there.”
I understand your point, but I disagree. There have already been significant changes compared to 50 years ago, even 20 years ago. I think the particular movie in question looks ridiculous, but it’s still good to bring up the issue of the casting regardless of the quality of the film. If they wanted an American lead, did they go for Matt Damon instead of John Cho? Or Will Smith, for that matter: since there was trade and travel between China and the Muslim world, it would be somewhat more plausible for a black mercenary to be present on the Great Wall than a white one. These questions need to be asked. Not only are we trying to hold the industry accountable, but the resulting discussion helps to make ordinary people think about the underlying issues and perhaps confront some of their own stereotypical beliefs.
LikeLiked by 1 person
@ Jefe
If there were any protests in the UK during the initial run. I never heard of them. The whole thing blew up in a big way in the U.S. because the Actors’ Equity Association initially stood behind its Asian American membership and wasn’t going to allow the parts to be played by white actors. The group eventually caved, but if I remember correctly, part of the agreement stipulated that Pryce et al. would not use the eye prosthetics and bronze makeup they’d been wearing in the U.K. production. There have been subsequent protests whenever “Miss Saigon” tours, not just about the yellowface casting anymore but about the racist stereotypes inherent in the plot.
LikeLike
Some White guy on Twitter said the following about the film: “How many Chinese people made a good living off this movie? go f yourself whoever has beef. bitch bitch bitch.”
I sense that this is the general consensus among the status quo of America.
LikeLike
Correction to the above: “If they wanted an American lead, why did they go for Matt Damon instead of John Cho?”
LikeLike
@ Jefe
“Jonathan Pryce was very well recognized in New York. I was living in New York when “Miss Saigon” came to Broadway and in fact, it was while I was performing with a Filipino drama ensemble. Some of the members protested against the casting of Pryce as the Engineer.”
That must have been interesting to be there right as it was all happening and to have personally known and performed with some of the people who took part in the protests.
BTW, I realize what I wrote about “Miss Saigon” in my comment to you above is stuff you’re well aware of. I was just writing additional stuff I remembered about the protests as general commentary on the topic.
I’m sorry to read about your experience in Australia. That must have been disturbing and uncomfortable.
LikeLike
A post on Miss Saigon would be good.
It is not just about Yellowface, but also about the promotion of nasty racist stereotypes.
Actually, this was in the list of Asian American topics that I sent Abagond about 3-4 years ago. Maybe now that we have a few supporting posts we can have that post soon.
LikeLike
@grojo
this one you got right.
Except, I am not sure Hollywood would be exactly eclipsed by China. I don’t think it is a communist plot to take over Hollywood, but China also wants to cash in on Hollywood’s soft power. China’s PR skills are not exactly that great.
In a way, it is going in both directions.
LikeLike
“But China looks beyond financial reasons in inking deals. “There’s a concerted effort in China to move into the global entertainment and media industry to build China’s soft power,” adds Zhang. The cultural sector is one of the pillars of China’s Five-Year Plan, meaning the government makes an effort to support Chinese investment in entertainment. “Aside from being good business, it is a way to protect China’s influence in the world.””
The above was part of my comment, did you fail to read it, because I don’t see how your comment adds anything to what I quoted from the Wharton article.
” this one you got right.
Except, I am not sure Hollywood would be exactly eclipsed by China. I don’t think it is a communist plot to take over Hollywood, but China also wants to cash in on Hollywood’s soft power. China’s PR skills are not exactly that great.
In a way, it is going in both directions.” The only good that might come of this is that we might be spared trite films about the Chinese trying to takeover the world.
LikeLike
@all besides Grojo
Of course I read that, but how are you supposed to reply to statements that come straight out of the “50 cent army” playbook?
https://en.wikipedia.org/wiki/50_Cent_Party
LikeLike
To no one else besides Jefe,
Oh well, I was hoping we would avoid the absurd vilification. I didn’t even know about the 50 cent army. Can you tell me how I can get paid by them for countering your bs? I’ve been doing it for free, silly me!
LikeLike
Anglo saxon cultural imperialism, first they arrogated to themselves the mediterraneans and now they are going for east asians
LikeLike
IVE SAID THIS FOR YEARS IT IS SUCH A TURN OFF PAST THE POINT OF EVEN DEALING WITH SOMEONE ELSES FANTASY
LikeLike
Interesting video came out yesterday discussing why Hollywood has been changing itself to appeal to the China market
How China is changing Hollywood
(https://youtu.be/8R-FQTY4KJk)
LikeLike