"New Year Films" response
Please respond to Yomi Braester's article on "filmmaker as cultural
broker" in relation to Shujen Wang's article on Big Shot's Funeral, as both focus on the popular cultural phenomenon of "New Year Films" and its best representative, director Feng Xiaogang. What does these articles inform us about commercial
filmmaking in contemporary China? What interests you most in these articles? What
makes least sense? Feel free to continue discussing some of the key
issues raised in previous class sessions and previous readings. Use quotes with page numbers to document your sources and to support your arguments. Due Wednesday April 9 by 10 pm, comments to two other responses due by 11:59 pm. I look forward to reading your wonderful analyses!
Nowadays, more and more Chinese commercial films are similar to American commercial films with the popular elements such as sexual attractiveness, love story, advanced technology, 3D, high-budget, intensive pre-release promotion and so on. However, Feng’s New Year films are a little different from these typical commercial films.
ReplyDeleteThe protagonists in Feng's films differ from the ones found in many Hollywood films in that Feng's protagonists are not ''heroes'' but rather, ordinary citizens trying to survive in a changing environment (p. 148 Wang). Through one and another ridiculous and hilarious story in his films, Feng expresses his censorship of contemporary Chinese social problems and his understanding of the Chinese cultural. For example, in the Big Shot’s Funeral, the many layers of meanings embedded in this postmodern text of self-conscious mockery, cynicism, and pastiche also reflect a general sense of anxiety, ambiguity, and uncertainty associated with the new market economy in China and its consequences (p.145 Wang). Each of Feng’s New Year film reflects one or more contemporary social issues and people’s mind state and ideology in that specific period of time.
It is also interesting that a satirical film that touches on economic, political, and cultural aspects was shown widely during the time that China became apart of the WTO.
DeleteFeng Xiaogang's protagonists are generally ordinary people, his story is happened around us, so his movies are very successful.
DeleteI like the film because it makes us think deep and hard after watching it
DeleteI think your opinion about Feng Xiaogang's protagonists is very interesting and I never thought about that. It is true that many of protagonists in his films are not "heroes" but ordinary citizens.
DeleteThe term "New Year Film"(贺岁片hesuipian) started to be known by the audience since 1980s. It was from Hongkong China to mainland China. The main feature of the New year Film is to make the audience laugh, so most of the New Year Films are comedies.
ReplyDeleteThe other feature of the New Year Films is the large amount of invest that the founders put into the film, they usually spend a lot of money to make a New Year film, for example,Huangjinjia- the 2007 New Year movie, costs 360 million yuan. The Big Shots Funeral came out in 2002, it is a New Year film, directed by Feng Xiaogang, who is one of the most famous directors in China.
I think it is a great movie, first of all, with what are we learning in class now, the three main characters represents three ethical groups, Americans(Taylor), Asian-American(Lucy) and Asian(Yoyo). From the clip that was shown in class, theres a very great line, when Lucy says "Im Chinese", Taylor laughs and says:"you are not Chinese, you have a Chinese face, but you are brought up by the Americans."
Secondly, I think there are a lot of humous scenes in that movie that can make us think deep and hard after the laughters. for example, when they are in the temple, Lucy comes out and asks Yoyo what does "jingjie" mean, Yoyo only used four stones and explains it really clear. And some other great clips as well.
last but not least, some of the lines are actully mocking the real society in China now, Yoyo's friend only thinks about money, he tries to make everypossible money from Taylor's funeral, and he puts a lot of unbelievable thoughts into it when planning, it shows that a lot of people in China only care about how to make more money, and do not care about other people. Also at the beginning of the movie, when Yoyo talks about tragedy, he says:"the empire has a lot of women, and they are all paid by the government, I only have one woman, and she divorced me, my life is a tragedy". It is actully a lot of Chinese people's thoughts.
I think what you said is right, Chinese commercial film needs a lot of investment, they want to pay some investment and get more back.
DeleteI find it interesting at the end of your response how you believe that many people in China actually think the same thing as Yoyo. I didn't know that, but that's pretty funny.
DeleteOne thing that I found very interesting was how Braester depicted the different roles of a filmmaker. For instance, they are not only someone that films the movie, but they do much more than that. "Filmmakers take over not only directing but also advertising and promotion, and their work expands far beyond the artifact screened in theatres" (p.2). I also found the idea of cultural brokering interesting. "The filmaker's role as a cultural broker erases the distinction between ideological and commercial cinema as well as between art film and market-driven media" (pg. 3). A great example in this article was about Zhang Xin and Pan Shiyi. Each filmmaker uses this aspect of cultural brokering to compare how culture illustrates different aspects of the financial field.
ReplyDeleteThe article written by Shujen Wang was interesting because he used the film "Big Shot's Funeral" to depict dawan'r. Which is depicted as skilled artists and their great reputation in the other article by Braester. "Big Shot's Funeral" is such a prominent satirical film because it was one of the first film's shown after China became apart of the WTO. Being that this film exemplified the cultural, economic, and political aspects of China.
Both articles tell us that contemporary filmmaking involves the director to perform various jobs that create and mold new circumstances, which makes them come to life. The article, "Filmmaker as Cultural Broker" brings upon this notion of dawan'r . Whereas the other article, "Big Shot's Funeral" is a great example of dawan'r.
On page 550 of the article, "Filmmaker as Cultural Broker," states that directors not only control filmmaking but also control advertising and promotion. This means they are able to make their vision and belief of social injustices and political wrongs in China apart of their art. They say successful Chinese filmmakers are making cinematic art. I also found it interesting how they explained "dawan'r" which use to mean the distinction between high and low culture but has now transformed into a paradox where the two must coexist and interact with one another with the rise of "cultural economy" (p. 351). If you look at the pattern of China as how social and political issues were introduced as hidden messages in their art, you will notice a sudden shift of more and more people talking about social and economic inequalities. This reminds me of Ai Wei Wei whom is a highly revered artists in China who uses his "art" as a means to advocate social and political injustices in China. His involvement in the creation of the Beijing Olympics and how he voiced his disapproval of the reasoning China had behind hosting it captured many people's attention. Both Ai Wei Wei and directors such as Feng Xiaogang and Zhang Yimou are using their vision to "get the mass talking." When people are silent, nothing will never change, but celebrity leaders who have a voice for the minority have really increased social morality of the injustices that occur around certain individuals. Even now we are witnessing the use of blogs, Twitter, and Facebook by Chinese celebrities who voice injustices throughout China. The use of these are considered illegal yet the presence really is forcing the government to change it's policies.
ReplyDeleteI am discussing the mass popularity of shows such as "I am A Singer," which Is being highly viewed along other competition and reality shows in China. These are being viewed much more than the laws of China allow satellite programs to show but the wide popularity of these shows have done good for China's economy. It is interesting to see how the pattern exists in many forms whether it be art, film, television, music, etc. The very thing the government wants to put limits on is benefitting the economy greatly.
I really like your opinion on the social injustices of China's culture that is being brought out through social media, and other outlets. It gave me a different viewpoint on how these Chinese celebrities, and artists expressed themself.
DeleteI liked how you said the government wants to put limits on something that it is benefitting the economy. I think it stems from a fear of losing China's self in the sea of consumerism and the global market.
DeleteHey Taylor! That was my thought process exactly. China does not want to lose the Cultural value that makes them so revered as a country and that has allowed them to endure much as a prevailing country.
DeleteLooking at filmmaking in China since China’s admittance into the WTO, we again see this argument for a dichotomy between globalization and localization and the smothering of Chinese culture by consumerism. “Film in China is viewed as one of the several existing cultural markets and a product of the political, economic, military, and cultural invasions of the west, and thus carrying with it a deep colonial branding” (Shujen). To China, Hollywood directors are seen as wolves on the prowl, ready to jump on China’s film industry and take over. This sentiment illustrates insecurities with China’s cultural heritage and the interpretation of globalization as commercialism. They fear that once the movie market opens up to the world, their own culture will be consumed by the consumer culture synonymous with globalization. Feng Xiaogang portrays these sentiments in his movie Big Shot’s Funeral. The “comedy funeral” movie within the movie is an international project and is full of consumerism embodied in the ads placed all over the funeral. Feng’s movie illustrates the fears and expected outcome of opening up to the global market felt by many Chinese people. Since the opening up of the market there have been a lot more of what people would label as “commercial movies”, movies with large budgets and special effects made for money, which stand in contrast with movies that have social and political agendas characteristic of the Chinese film industry and “many observers have come to regard commercial film as a distinct genre” (Braester). This new trend towards commercial movies and the increased encroachment on cultural relics by the advertisement industry has reinforced these fears and the inferiority complex felt when viewing the global market.
ReplyDeleteI agree with what you have, and also, the three main characters represents different ethical groups in the US, and China as well.
DeleteI really like how Feng managed to package his message to the people of China. The fear of Hollywood taking over and changing the Chinese film industry is a very real fear. Feng manages to take this issue and create a film that accurately (and humorously) engages in the issue.
DeleteI agree with what you say on the dichotomy between globalization and localization and consumerism. I took think that this raises the arguments about the topic of consumerism and Chinese films.
DeleteThrough this article, we can know Chinese commercial movie is requires a lot of investment. For example, the production cost of Feng Xiaogang’s movie “Shot's Funeral” is very high. Of course, we also know a good commercial film which there must be some advertising implant. These commercial films to a film to which the propaganda some goods, the commercial purpose is to earn a lot of money.at page 146 it shows that “ film in china is viewed as one of the several existing cultural markets and a product of the political, economic, military, and cultural invasions of the west.
ReplyDeleteThe thing that most interest me in this article is when I read “the film is about the hunter and the wolf, and the dynamic power relations between them. For me, I had never thought about this film as this way. But when I read it, and I try to think about it. I think it is true. Because the story of this movie is about how people get something from others.
The least sense it that at page 152 it shows “It is a reflective film mirroring and echoing some of the most pressing cultural and market issues in a fast changing Chinese society.” In fact, for my opinion it is only an entertaining comedy.
I actually think that the quote at the end of your response makes sense to me, as it is clear in the film that China is rapidly changing, both culturally and economically.
DeleteI found both of these articles to be entertaining and informative, albeit a little bit confusing at times. In particular the piece by Yomi Braester. Although this is not due so much to a failing on behalf of the author, rather it is due to the content itself. I found myself frequently getting mixed up whether she was discussing the character in the movie "Yoyo" or talking about Feng Xiaogang. Although I suppose this is an inevitable development when writing an article about a real life"dawanr"/cultural broker director (feng xiaogang) who is directing a movie about a "dawanr" (tyler) who in turn within the movie itself allows a guy filming a documentary about the film within the movie to become a dawanr and cultural broker himself. (yoyo) In essence, this topic and film itself is extremely, extremely "meta". Although I have no doubt that the movie is entertaining, and I thought that the article itself was entertaining to read as well.
ReplyDeleteOn page 148 of the Shujen Wang article, I found myself surprised that a gimmick like a "new years movie" could actually be effective. Its just hard to fathom that a director could release a new movie at the same time, every year and actually succeed in this. Furthermore, it makes me wonder how long he intends to do this? I suppose until he retires? I mean, by now, there is an unspoken pressure on behalf of society for him to continue putting out new years movies, so in a way I think that can definitely cramp his creative style. This isnt to say thought that I dislike the concept, its just that I am surprised such an unconventional concept would be so successful.
I agree that it was difficult to tell Yoyo and Feng Xiaogang apart in the Braester article. Although I didn't go as far to think about the reasoning you reached as to why this confusion inevitably takes place--very interesting.
DeleteI agree with your idea. Many movies of Feng Xiaogang seem to be his autobiography. This is even more obvious in the film Personal Tailor.
DeleteI enjoyed both articles to a certain extent. Braester's was a little bit scattered but overall the message in both was the same: commercial film-making in China both reflects and promotes the new market-based economy. Modern films, in order to be "successful" (and this term is used loosely), require a large amount of money, sponsorship, marketing power, and skill. This combination of factors, coupled with the fact that China has become more open to western films, has created a new direction for Chinese films, in that they aim for commercial success, and they even promote commercialism themselves. Braester writes on page 564, "Cinema, space, and commerce in contemporary China have combined to form an innovative nexus between image making, market shaping, and cultural identification."
ReplyDeleteWang's article directly mirrors the above statement, "Big Shot's funeral, thus, is not merely a highly entertaining comedy for a New Year's holiday market. It is a reflective film mirroring and echoing some of the most pressing cultural and market issues in a fast-changing Chinese society. (Wang, 152)"
Contemporary films are undoubtedly being affected by the changing economy, just like everyone else. There is easier access to capital, increasing film budgets and sometimes film quality. There is an easier way to market films on the internet and smartphones, etc. All of these capitalist forces have created a new paradigm for Chinese film-makers, and their works have reflected this.
I agree that contemporary films are being affected by the changing economy. Movies are more readily accessible now and people demand higher quality and to meet this demand, filmmakers have to open themselves up commercially.
Deletei like the last sentence that you quoted, also i have quoted that sentence too.
DeleteI am also interested in the quotation you picked in Wang's article, because I also think the New Year films can reflect the cultural and market issues in a fast-changing Chinese society. And it is a fact that many new year films can prove this.
DeleteWhile in China I noticed that prices to see a movie were not that different compared to Western prices. I think that shows how much value the film industry is on China when compared to other products that can be purchased.
DeleteI agree with your assessment of the Braester reading, I think it was really interesting to read about the ubiquity of commercial sponsorship in the entertainment business in China. I felt like the author was trying to make the argument that there is a thin line between tastefully incorporating cultural backgrounds in media, and also degrading a location's cultural cache by over commercializing it.
DeleteIn the beginning of yours you mention that the bottom line seems to be profit which is totally understandable but I only hope they do not lose their identity and completely assimilate with the western style.
DeleteI found it very interesting that filmmakers have taken on a much more complex role since China has entered the WTO. Successful filmmakers like Feng Xiaogang are more of cultural brokers than just film directors. No matter how immersed into Western fads and practices China becomes, they are still very “culture conscious.” I find it interesting how many times I’ve seen Chinese culture preserved and incorporated into new a modern things (from Xintiandi and Big Shots Funeral). These modern Chinese directors balance between exciting Western practices and portraying it intertwining into Chinese culture. I think that these new commercial movies still have very important ideas that are slightly hidden under the satire and comedy. “So called commercial movies show practical sense in appealing to a wide spectatorship, yet they retain a keen concern with current issues, including the illness of the rapid transformation to a consumerist society (pg. 550, Braester).” Yomi Braester explains the significance of commercial movies that attempt to cater to a strong consumerist society while still successfully touching on key issues in China.
ReplyDeleteI also feel like these commercial films are a product of filmmakers attempting to traverse the rigid censorship in China. Films cannot blatantly discuss critical issues and hope to get past the film censors. Filmmakers like Feng have become creative enough to disguise central issues in satirical or comedic films. I find it really interesting how movies like Big Shots Funeral manages to touch on important themes like the current market reform in China and power of representation while creating just enough of a comedic film to get past the film censors.
I also find it interesting how movies touch on important themes like economic reforms or something along those lines but manage to make it a comedy
DeleteIn many previous classes institutions such as the WTO have been discussed in the context of studying Neoliberalism and analyzing how capitalist ventures and transnational corporations of numerous countries create webs of wealth and finance. It is not often that I analyze movies in the same context. Most of the time it is the artistic aesthetics or political positions that are discussed with movies, however the first article we read revealed to me a completely different aspect of the film business and this financial facet seems wholly more important than than aesthetic in the context of the world stage. The first article claims that "film in China is viewed as one of the several existing 'cultural markets' and a product of 'the political, economic, military, and cultural invasions of the West." This refers to China's recent (2001) membership into the WTO. This membership would normally have me researching how trading of goods and services have been affected between the US and China but the article focuses on how it has affected films themselves, whether aesthetically or politically. The second article adds more depth to this assertion by stating that "directors have collaborated with real estate developers and other entrepreneurs and become cultural brokers...using prestige, access and popular appeal of the cinema to establish a stronger connection between film and market forces."
ReplyDeleteyeah, good analysis. I too wasnt previously aware of the depth of the influence of China's influence into the WTO, although I suppose it would be inevitable that a country's film industry would also be affected by something as influential and wide reaching as a WTO agreement.
DeleteChina, as it joins the WTO, more and more foreigner filmmaking and entertainment companies have targeted on the broad mainland film market. The Hollywood film investors were described as hungry wolves demand for the untapped Chinese film market. “Film in China is viewed as one of the several existing “cultural markets”, and a product of “the political, economic, military, and cultural invasions of the West”, and thus carring with it “a deep colonial branding” from the very beginning.” (Wang, p.146) More and more films in China contain international and local cultures, and the typical characteristic is influenced by Hollywood films. The New Year’s film or He Sui Pian is a new film marketing trend and it is really successful in China today. Most He Sui Pian contains a lot of comedy elements, happy ending and can pleasure the audiences, and it enhances and accords with the happy festive atmosphere in China. “He Sui Pian is a product of the new market economy in China. It also cashes in on the ‘holiday economy’”(Wang, p.148) With the big-budget, commercial propaganda and popular fashion elements, the New Year film becomes more and more popular in China.
ReplyDeleteBig Shot’s Funeral is a very successful New Year film in China, and it contains a lot of Chinese traditional cultural elements but also has many international elements, such as a famous Hollywood movie star. But the most important thing is the investors at home and from overseas, such as, Sony, the overseas publisher. And this double investment can contribute this film to a bigger international market also. The most interesting part I found in this reading is “Big Shot’s Funeral, thus, is not merely a highly entertaining comedy for a New Year’s holiday market. It is a reflective film mirroring and echoing some of the most pressing cultural and market issues in a fast-changing Chinese society.” (Wang, p.152) I really agree with this interesting viewpoint and I think not only for the Big Shot’s Funeral, there also can reflect in many other New Year films today. In recent years, the best successful example of New Year films are two of Xu Zheng’s Lost in Journey. Many elements and plots of the two Lost in Journey films also reflect the cultural and market issues in a fast-changing Chinese society.
I thought the article was very interesting and I enjoyed it very much. Filmmakers are not just filmmakers anymore, they depict their visions and values of the society in their films. Also, I feel like films are more than just films, it represents the society and the people. By watching movies about a society, we can learn a lot about that society, which explains why filmmakers are cultural brokers.
ReplyDeleteThe Big Shots Funeral is obviously a comedy, but they are deep meanings behind the jokes from the movie, and they give us a lot to think about besides just some funny jokes. Also, I liked how the characters in the movie are just ordinary people like all of us, so we can place ourselves in their shoes and to really comprehend the movie which is mentioned in page152
also this movie was made by feng xiaogang ang zhang yimou
DeleteI agree that films represent culture. I just recently read an article online. The author said outsiders seeking to understand modern China need to look no further than director Feng Xiaogang and his movies!
DeleteSince China has entered in the WTO, China has been experienced with a much broader view of things. Chinese films have also experienced a much broader view of things. Chinese filmmakers are putting a lot more money into their films and drawing in sponsorships. With the globalization, China been lead to consumerism. Consumerism has changed the way films are being made. “Film in China is viewed as one of the several existing ‘cultural markets’ and a product of ‘the political, economic, military, and cultural invasions of the West’ and thus carrying with it ‘a deep colonial branding’ from the very beginning” (146). Shujen Wang refers to Hollywood directors or filmmakers as wolves because they are waiting to jump onto and take over Chinese film industry. The Big Shot Funeral contains both traditional views of China and international influence of big stars in the film. The Big Shot Funeral shows how China’s society has changed and has been influenced from international countries. Sony is a company that has invested into the Big Shot Funeral. “Filmmakers take over not only directing but also advertising and promotion, and their work expands far beyond the artifact screened in theaters” (550). This is a new model of filmmaking that is in the process of emerging in China.
ReplyDeleteI agree with how people are ok with being similar to the west and having influence by Hollywood and actors/actresses. I just am worried they will lose their identity as a whole.
DeleteI am writing this a bit late as I just noticed the last one did not post and I did not save it.
ReplyDeleteAfter reading the articles regarding "Big Shot's Funeral" and movie making in contemporary China I am most impressed with the fact that these movies have made a specific strategic stance on being released in New Year's in the same way that our big block buster movies are released mid-summer for the same money making reasoning. Movie making in China is not new and now that China is accepted into the WTO, international audiences are able to enjoy New Year's films as well as domestically. This brings about a whole new level of movie making because now Chinese film makers have a wider audience. "Big Shot's Funeral has already rewritten the box office record in China" (page 5) This shows that China is more accepting of Feng's unique style of new years movie and helps to show that China is ready for not just domestic earner-ship but also international earnings.
As we see in the article by Braester, " A wide spectrum of entrepreneuring filmmakers use their media knowledge and cultural status to add prestige and monetary value to
commercial products." Chinese film makers are now realizing the impact on domestic and international societies that they can obtain. This helps the new way of film making in China. What makes the least sense to me is that they hadn't done it before recently. The audience is broad and so is the capital.
I like what you said about how Chinese film makers are realizing their own potential and the impact these films make on an even grander scale, such as internationally.
DeleteThrough reading “filmmaker as cultural broker” and Big Shot’s Funeral it seems that the Chinese film industry seems to be becoming similar to the style we are familiar with in the United States. Commercial filmmaking is taking over as the market economy is starting to show. Having endorsements and having the bottom line of making money are becoming popular amongst the directors. They have the control over the film and are imposing their will on them by promoting their own ideas and by making a lot of money. I do somewhat like the fact that the control is in the hands of the producers and that the market is doing what it wants. “The process of turning the Forbidden City into a film location is emblematic of the transformation of the ideological, economic and cinematic significance of Beijing spaces.” (Braester) To me this is where contemporary China should remain untouched. This is a very important landmark and should not be turned into a Hollywood set. Making moved into the modern era are important and all, but not at the risk of defaming your cultural landmarks.
ReplyDelete"Big Shot Funeral" is a very innovative movie that represents both China and also more worldly issues. I felt that it was a great film that captured the essence of China, but also incorporated many other elements into it as well. "In Big Shot's Funeral, for example, the major investor of Tyler's film is Japanese, whose unrelenting, emotional, and profit-driven demands and pressure are portrayed as one of the major obstacles of the film." I thought that this quote was particularly interesting from the article because they had to overcome obstacles and face some trials along the way. Making the movie wasn't at easy as they thought. They really had to work hard to get as far as they did with it. Thankfully, it got publicity and people liked it.
ReplyDelete